Avid Technology | System 5 | Specifications | Avid Technology System 5 Specifications

S3L System Guide
and VENUE Software 4.1
PN 9329-65306-00 REV A 8/13
Legal Notices
© 2013 Avid Technology, Inc., (“Avid”), all rights reserved. This guide may not
be duplicated in whole or in part without the written consent of Avid.
003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline, AirSpeed, ALEX,
Alienbrain, AME, AniMatte, Archive, 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 Remote 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 Engine, Cineractive Player, Cineractive Viewer, Color Conductor,
Command|8, Control|24, Cosmonaut Voice, CountDown, d2, d3, DAE,
D-Command, D-Control, Deko, DekoCast, D-Fi, D-fx, Digi 002, Digi 003,
DigiBase, Digidesign, Digidesign Audio Engine, Digidesign Development
Partners, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus,
DigiLink, DigiMeter, DigiPanner, DigiProNet, DigiRack, DigiSerial, DigiSnake,
DigiSystem, Digital Choreography, Digital Nonlinear Accelerator, DigiTest,
DigiTranslator, DigiWear, DINR, DNxchange, Do More, DPP-1, D-Show,
DSP Manager, DS-StorageCalc, DV Toolkit, DVD Complete, D-Verb, Eleven,
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Frame Chase, FXDeko, HD Core, HD Process, HDpack, Home-to-Hollywood,
HyperSPACE, HyperSPACE HDCAM, iKnowledge, Impact, Improv, iNEWS,
iNEWS Assign, iNEWS ControlAir, InGame, Instantwrite, Instinct,
Intelligent Content Management, Intelligent Digital Actor Technology,
IntelliRender, Intelli-Sat, Intelli-Sat Broadcasting Recording Manager, InterFX,
Interplay, inTONE, Intraframe, iS Expander, iS9, iS18, iS23, iS36, ISIS,
IsoSync, LaunchPad, LeaderPlus, LFX, Lightning, Link & Sync, ListSync,
LKT-200, Lo-Fi, MachineControl, Magic Mask, Make Anything Hollywood,
make manage move|media, Marquee, MassivePack, MassivePack Pro, Maxim,
Mbox, Media Composer, MediaFlow, MediaLog, MediaMix, Media Reader,
Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync,
MIDI I/O, Mix Rack, Moviestar, MultiShell, NaturalMatch, NewsCutter,
NewsView, NewsVision, Nitris, NL3D, NLP, NSDOS, NSWIN, OMF,
OMF Interchange, OMM, OnDVD, Open Media Framework,
Open Media Management, Painterly Effects, Palladium, Personal Q, PET,
Podcast Factory, PowerSwap, PRE, ProControl, ProEncode, Profiler,
Pro Tools, Pro Tools|HD, Pro Tools LE, Pro Tools M-Powered, Pro Transfer,
QuickPunch, QuietDrive, Realtime Motion Synthesis, Recti-Fi,
Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, Reprise,
Res Rocket Surfer, Reso, RetroLoop, Reverb One, ReVibe, Revolution, rS9,
rS18, RTAS, Salesview, Sci-Fi, Scorch, ScriptSync,
SecureProductionEnvironment, Shape-to-Shape, ShuttleCase, Sibelius,
SimulPlay, SimulRecord, Slightly Rude Compressor, Smack!, Soft SampleCell,
Soft-Clip Limiter, SoundReplacer, SPACE, SPACEShift, SpectraGraph,
SpectraMatte, SteadyGlide, Streamfactory, Streamgenie, StreamRAID,
SubCap, Sundance, Sundance Digital, SurroundScope, Symphony, 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 technology is protected by one or more
U.S. and non-U.S. patents, the details of which can be found at
www.tctechnologies.tc/patents.
This product may be protected by one or more U.S. and non-U.S. patents.
Details are available at www.avid.com/patents.
Product features, specifications, system requirements, and availability are
subject to change without notice.
Guide Part Number 9329-65306-00 REVA 8/13
Safety Compliance
Safety Statement
This equipment has been tested to comply with USA and Canadian safety
certification in accordance with the specifications of UL Standards: UL60065 7th
/IEC 60065 7th and Canadian CAN/CSA C22.2 60065:03. Avid Inc., has been
authorized to apply the appropriate NTRL mark on its compliant equipment.
Warning
Rack-Mount Safety Instructions
1) Elevated Operating Ambient - If installed in a closed or multi-unit rack
assembly, the operating ambient temperature of the rack environment might be
greater than room ambient. Therefore, consider installing the equipment in an
environment compatible with the maximum ambient temperature (Tma)
specified by the manufacturer.
2) Reduced Air Flow - Installation of the equipment in a rack should be such that
the amount of air flow required for safe operation of the equipment is not
compromised. Stage 48 airflow is from the front of the chassis enclosure to the
rear. Make allowances for cooling air to be available to the front panel surface
and no restrictions at the rear.
3) Mechanical Loading - Mounting of the equipment in the rack should be such
that ahazardous condition is not achieved due to uneven mechanical loading.
Important Safety Instructions
1) Read these instructions.
2) Keep these instructions.
3) Heed all warnings.
4) Follow all instructions.
5) Only perform the services explicitly described in the install and or user
manual. For services or procedures not outlined in the install or user manual,
speak with authorized service personnel.
6) Do not use this equipment near water.
7) Clean only with dry cloth.
8) Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
9) Do not install near any heat sources such as radiators, heat registers, stoves,
or other equipment (including amplifiers) that produce heat.
10) Do not defeat the safety purpose of the polarized or 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,
bracket, or table specified by the manufacturer, or sold with the equipment.
When a cart is used, use caution when moving the cart/equipment combination
to avoid injury from tip-over.
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 exposed to rain or moisture, does not
operate normally, or has been dropped.
16) For products that are a Mains powered device:
The equipment shall not be exposed to dripping or splashing and no objects
filled with liquids (such as vases) shall be placed on the equipment.
Warning! To reduce the risk of fire or electric shock, do not expose this
equipment to rain or moisture.
17) For products containing a lithium battery:
CAUTION! Danger of explosion if battery is incorrectly replaced. Replace only
with the same or equivalent type.
18) The power inlet is the main disconnect device and should remain
accessible. Disconnect the power cord before servicing the unit.
19) The equipment shall be used at a maximum ambient temperature of 40° C.
4) Circuit Overloading - Consideration should be given to the connection of the
equipment to the supply circuit and the effect that overloading of the circuits
might have on overcurrent protection and supply wiring. Appropriate
consideration of equipment nameplate ratings should be used when addressing
this concern.
5) Reliable Earthing - Reliable earthing of rack-mounted equipment should be
maintained. Particular attention should be given to supply connections other
than direct connections to the branch circuit (for example, use of power strips).
Contents
Part I
Overview
Chapter 1. Introduction to the S3L System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
S3L System Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
What’s Included . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Additional Required Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Optional Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Operational Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Connection Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Chapter 2. Configuring and Connecting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Unpacking and Assembling System Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Connecting Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Connecting Peripherals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Connecting the S3L System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Powering Up the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Confirming and Configuring System Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Audio and Control Connections, Switches, and Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Installing Additional Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Part II
Description
Chapter 3. S3L System Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
S3 Control Surface Top Panel Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Channel Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Software Screen Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Chapter 4. Banking and Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Banking Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Selecting and Targeting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Screen Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Screen Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Type Text Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Contents v
Chapter 5. Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Using Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Assigning Functions to Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
User Assignment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Availability of Channel Control Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Chapter 6. Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Pickoffs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Misc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Interaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Part III
Signal Routing
Chapter 7. Inputs and Input Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Configuring Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Assigning Input Sources to Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Routing Input Channels to Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Routing Inputs to Direct Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Adjusting Input Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Using Built-In EQ and Dynamics on Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Using Plug-In Inserts on Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Using Input Direct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Input Channel Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Chapter 8. Outputs and Output Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Configuring Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Assigning Busses to Hardware Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Using Built-In Comp/Lim and EQ on Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Using Inserts on Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Adjusting On-Screen Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Adjusting the Mains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Direct Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
VCAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Automation Safing Output Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Managing Bus Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Chapter 9. Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Configuring Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Routing Groups to Mains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Adjusting Group Output Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Group Bus Signal Flow Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
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Chapter 10. Auxes and Variable Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Configuring Aux and Variable Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Routing Auxes and Variable Groups to Outputs, EQs, Dynamics and Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Adjusting Aux and Variable Group Send Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Adjusting Aux/Variable Group Output Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Chapter 11. Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Configuring Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Assigning Input Sources to Matrixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Adjusting Matrix Mixer Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Adjusting Matrix Mixer Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Snapshot Data and Parameters for Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Chapter 12. Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Accessing the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Overview of the Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Navigating the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Assigning Channels in the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Warning when Stealing Inputs or Outputs in the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Patch List Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Chapter 13. Solo and Monitor Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Selecting a Solo Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Configuring Solo and Monitor Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Using Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Solo Safing Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Using the Monitor Bus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Adjusting Monitor/Headphone Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Oscillator, Talkback, and 2-Track Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Chapter 14. Muting and Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Muting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Using Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
Part IV
Processing
Chapter 15. Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Dynamics Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Built-In Comp/Lim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Built-In Exp/Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Adjusting Dynamics Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
Input Direct Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
On-Screen Dynamics Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Dynamics Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Using the Sidechain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Channel Control Dynamics Parameter Mapping. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Control Ranges for Built-In Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
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Chapter 16. EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
EQ Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Built-In EQ Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Adjusting EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Adjusting EQ Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Graphic EQ for Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Input Direct Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
EQ Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Control Ranges for Built-In 4-Band EQ (All Modes) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Chapter 17. Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Plug-Ins Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Installing and Authorizing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Plug-in Version Checker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
USB Ports for iLoks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Plug-In Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Rack Slots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Routing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Adjusting Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Bypassing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Plug-In Presets and Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Plug-In DSP Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Initializing the Plug-In Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Plug-In Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Plug-In Latency and Processing Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176
Chapter 18. Hardware Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Connecting External Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Assigning Hardware Inserts to Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Activating and Bypassing Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Setting the Hardware Insert Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Part V
Shows
Chapter 19. Shows and File Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Creating Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
Loading a Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Working with Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Transferring Settings, Shows and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185
Undoing Changes Using the History Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Chapter 20. Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Snapshots Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Creating Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Recalling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Recall Safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Automation Safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Managing Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Making Changes to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
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Preview Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Undoing Snapshot Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Disabling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Adding MIDI, Plug-In, and Media Data to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Snapshot Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Snapshot Data Types and Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Chapter 21. Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
The Events Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Creating Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Creating Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Creating Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Testing Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Resetting Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Snapshots and Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Default Settings, Templates and Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Tap Tempo for Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Trigger Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Action Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Chapter 22. Synchronization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Automating Recall of Snapshots with MIDI Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Remote Control of Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Triggering of External Devices on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Sending MIDI Messages on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Synchronizing with Word Clock and Digital Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Chapter 23. Using the Standalone Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Differences Between Standalone Software and a VENUE System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Installing the Standalone Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Simulating a VENUE Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Transfer and Filing Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Exporting System Information and Patchbay Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Part VI
Recording and Playback
Chapter 24. 2-Track USB Recording and Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
USB Flash Drive Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Media Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Transport. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Recording Audio to USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Playing Back Audio from USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Managing USB Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Using Snapshots to Trigger Transport Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Using Events to Trigger USB Transport Commands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Contents
ix
Chapter 25. Pro Tools Recording and Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Pro Tools Recording and Playback Capabilities and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Pro Tools Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
S3L and Pro Tools Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Installing Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Connecting to Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Enabling Direct Digital Splits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Using Virtual Soundcheck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Using Pro Tools Assignable I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Using Input Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Enabling VENUE Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Using VENUE Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Part VII
Specifications and Troubleshooting
Chapter 26. Mechanical Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
S3 Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
E3 Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
Stage 16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Power and Status LED Codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Network Port Snake Act and Sig LEDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Chapter 27. Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
S3 Control Surface Audio Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279
E3 Engine Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Stage 16 Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Chapter 28. S3L System Signal Flow Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Monitor Bus Signal Flow Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287
Input Signal Flow Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
Output Signal Flow Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289
Chapter 29. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Problem Solving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Performing a Soft Reset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Hardware Monitoring Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Resetting Hardware Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Offline or Unavailable Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Utility Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Resetting the Plug-In Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295
Using the System Restore Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
x
S3L System Guide
Part VIII
Reference
Chapter 30. GPI Port Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
GPI Port Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
GPI Wiring Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302
Chapter 31. ECx Ethernet Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
ECx Capabilities and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Required Components for ECx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
ECx Host and Client Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Overview of ECx Setup and Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Connecting a Computer Directly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Connecting a Wireless Router or WAP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Setting IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Establishing a Wireless Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Enabling Remote Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Disconnecting ECx. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Changing the Ethernet Control Password . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Appendix A. E3 Engine Secure USB Port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
Appendix B. Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Environmental Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
EMC (Electromagnetic Compliance) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
Contents
xi
Part I: Overview
Chapter 1: Introduction to the S3L System
Welcome to the S3L digital live mixing system from Avid®. The S3L system includes the S3 control surface, the E3 engine, and up to
four Stage 16 remote I/O boxes, providing a compact, modular, scalable, and high-fidelity live mixing solution using ultra-reliable and
low-latency Ethernet AVB audio network connections.
The S3L system uses the same intuitive and powerful VENUE software used by all other systems in the Avid live systems family, providing Show file portability between Avid live systems, direct Pro Tools® connectivity and interoperability, and support for
Pro Tools-compatible plug-ins.
E3
INPUT
ANALOG
INPUT
ANALOG
Power
3
4
5
6
7
8
NETWORK
OUTPUT
AES DIGITAL
2
OUTPUT
ANALOG
OUTPUT
ANALOG
1
S3L system components: S3 control surface (top), E3 engine (middle) and Stage 16 remote stage I/O box (bottom)
Chapter 1: Introduction to the S3L System 1
S3L System Features
Audio I/O
S3L System Processing
• Two analog mic/line XLR inputs with mic preamps for connecting microphones or line-level devices at the mix position
The S3L system provides the following processing features and
capabilities:
• Two analog line inputs and four analog line outputs for connecting other line-level devices at the mix position
• 64 input processing channels, each with built-in High-Pass
Filter, Dynamics and EQ processors
• 35 output processing channels, each with a built-in Compressor/Limiter and 4-band fully parametric EQ
• 16 assignable 31-band Graphic EQs available for output
channels
Control and Utility Connections
• Two Neutrik etherCON RJ-45 Ethernet Network ports for
connecting to the E3 engine and/or a compatible Pro Tools
system
• Two USB ports for keyboard and mouse/trackball (only)
• Three Main busses, configurable as Left–Center–Right or
Left–Right+Mono
• One 1/4-inch stereo headphone connector
• 27 busses total (24 mix busses plus three Main busses),
eight mono stereo-linkable Matrixes, and eight VCAs
• Two XLR console light connectors (LED console lights required)
• 20 plug-in rack slots for Pro Tools compatible plug-ins
S3L System Recording and Playback Features
S3L provides the following recording and playback capabilities:
• 64 channels of fully integrated recording and 64 channels of
playback with a compatible Pro Tools system, including
true Virtual Soundcheck capability
• VENUE Link, providing Pro Tools and VENUE interoperability and interconnection, including Pro Tools Transport
control from the S3 control surface
• Built-in USB 2-track recording and playback
For Pro Tools compatibility information, go to our website
at www.avid.com.
S3Control Surface
The S3 control surface provides system controls, mix position audio I/O, and control and utility connections.
System Controls
• 16 bankable fader strips, each with a touch-sensitive fader,
one multi-purpose assignable rotary encoder, solo, mute
and select controls
• Level meters on each fader strip
• One 1/4-inch TRS footswitch connector
E3 Engine
The E3 engine provides mix position audio I/O, and connections
for synchronization, utility and control. The E3 engine also
houses the main CPU, DSP, and system drives for the S3L system. The E3 engine is located at the mix position along with the
console.
Audio I/O
• Four analog mic/line XLR inputs with mic preamps for
connecting microphones or line-level devices at the mix position
• Four analog line-level XLR outputs
• Two stereo AES/EBU digital inputs
• Two stereo AES/EBU digital outputs
Synchronization, Control and Utility Connections
• Three Neutrik etherCON RJ-45 Ethernet Network ports for
connecting to the S3 control surface and Stage 16 boxes
• One standard RJ-45 Ethernet port for connecting to a client
computer or networking 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
playback), iLok USB Smart Keys (for plug-in authorization), and compatible MIDI devices
• Channel Control section for control of input settings, Dynamics and EQ settings (built-in or plug-ins), and Aux
sends
• One internally-mounted, secure USB 2.0 port for an iLok
• Eight rotary encoders for global control of parameters such
as output level controls and plug-ins
• 16 channels of MIDI input and 16 channels of MIDI output
via a compatible external USB MIDI interface
• Touch Strip for customizable control of system parameters
• DVI video monitor port for software screen display
• Eight customizable function switches providing instant access to up to 16 system parameters
• Word clock I/O for digital clock synchronization
• One RJ-45 (100 BaseT Ethernet) port for ECx Ethernet
Control remote system control
• One GPIO port (DB9 connector) providing two GPI inputs
and two GPI outputs
2
S3L System Guide
CPU, DSP, and System Drives
The E3 engine houses the CPU, Avid Pro Tools|HDX-powered
DSP, and system drives that provide the processing power to run
the VENUE software and plug-ins for your system. The USB
ports on the E3 engine allow you to do the following:
What’s Included
S3 Control Surface
Each S3 control surface includes the following:
• Update and restore your VENUE system software
• S3 control surface
• Install compatible plug-ins
• Avid mouse pad
• Transfer VENUE Show files and other data
• One (1) external power supply
• Record and play back 2-track audio
• One (1) IEC power cable, North American standard
• S3L System Quick Setup Guide
Stage 16
• Other documentation, including a Health and Safety
Guide, a Welcome Letter, and a Registration card
Stage 16 provides remote stage I/O for S3L systems in a 4U
rack-mountable enclosure. The S3L system supports redundant
audio snake connections to up to four Stage 16 boxes. Audio
snake connection are made using supported Ethernet cables (see
“Audio Network Connections” on page 5).
E3 Engine
Audio I/O
Each E3 engine includes the following:
• VENUE Tech Support card (for obtaining tech support for
your system)
• 16 analog inputs with remotely controllable mic preamps
and individually selectable phantom power
• E3 engine
• Eight analog outputs
• Replacement screws
• Four AES digital output channels (on two stereo connectors)
• One (1) IEC power cable, North American standard
Control Connections
• Two Neutrik etherCON RJ-45 Ethernet Network ports for
connecting to the E3 engine and to other Stage 16 boxes
Power Supply Units (PSUs)
One external universal PSU (100V to 240V nominal 50–60 Hz) is
provided with the console. The E3 engine and Stage 16 box each
have an internal universal PSU (100V to 240V nominal 50–60
Hz).
• Hardware for rack installation
• S3L System Software & Plug-Ins pack
• Pro Tools software package
• S3L Software Installation Guide
• Other documentation, including a Health and Safety
Guide, a Welcome Letter, and a Registration card
• VENUE Tech Support card (for obtaining tech support for
your system)
S3L System Software & Plug-Ins Pack
VENUE System Restore USB Drive The VENUE System Re-
store USB Drive contains VENUE System Restore software.
This software is used for S3L system maintenance only. Keep this
drive with the system at all times.
Do not use this drive for anything other than VENUE System Restore software. Do not use this drive to store
VENUE Show files, audio files, or any other data or software, including VENUE software updates.
S3L Plug-Ins iLok An iLok USB key (2nd generation) is included
in this package to store your S3L plug-in licenses. To run the S3L
plug-ins on your S3L system, this iLok containing plug-in licenses must be connected to your E3 engine at all times.
For more information on the activation process for your
S3L system software, go to www.avid.com/activationcard
and select S3L.
Chapter 1: Introduction to the S3L System 3
Activation Card The Avid S3L System Software & Plug-Ins Activation Card is used to activate your S3L software and plug-ins.
This activation process deposits the following iLok licenses into
your iLok account:
• S3L plug-in licenses
• Live Sound Production Toolkit license
The activation process also deposits the following S3L software
downloads and documentation into your Avid account:
• S3L plug-in installers
• Latest VENUE software update (if any)
• ECx Ethernet Control host and client software (for remote
control of your S3L system)
Additional Required Components
The following required components must be purchased separately:
• Shielded Cat 5e (350 MHz) or better Ethernet cable with
Neutrik etherCON connectors (for audio network connections between components)
• Free-standing DVI-D compatible video monitor with
1024 x 768 minimum resolution (15-inch or greater
flat-panel TFT display recommended) and cable
• Windows-compatible USB keyboard and trackball/mouse
• USB 2.0 flash drive(s) for storing software, installers, and
documentation
• VENUE Standalone software
• Documentation (including the main guide for your system,
the S3L System Guide)
• Avid AVB64 driver for Mac (installed on your Pro Tools
computer)
A separate USB flash drive (not provided) is required
to store software installers and documentation. Do not
use the included VENUE System Restore USB Drive.
Pro Tools Software and the Live Sound Production
Toolkit
Pro Tools software is included with the E3 engine, and is activated and downloaded separately from the S3L system software
and plug-ins. The Live Sound Production Toolkit is an iLok license that enables up to 64 channels of I/O between your S3L
system and your Pro Tools computer.
An iLok 2 is also included in the Pro Tools package to store
your Pro Tools and Live Sound Production Toolkit licenses. Do not store S3L system plug-in licenses and
Pro Tools licenses on the same iLok. You can, however, use
the same iLok account to manage all iLok licenses.
Stage 16
Each Stage 16 includes the following:
• Stage 16 remote I/O box
• Hardware for rack installation
• Replacement screws
• One (1) IEC power cable, North American standard
• S3L System Quick Setup Guide
• Other documentation, including a Health and Safety
Guide, a Welcome Letter, and a Registration card
• VENUE Tech Support card (for obtaining tech support for
your system)
4
S3L System Guide
Optional Components
The following components are optional, and must be purchased
separately:
• Shielded Cat 5e (350 MHz) or better Ethernet cable for connections to Pro Tools
• Standard Cat 5e or better Ethernet cable for ECx Ethernet
Control connections
• USB storage device for transfer of VENUE Show files and
data (512 MB or larger recommended)
• USB 2.0 flash drive(s) for use with the built-in USB 2-track
recording and playback features
• Headphones with 1/4-inch connector
• Footswitch with 1/4-inch connector
• BNC cables for word clock connections to/from external
digital devices
• DB9 (9-pin) cable for connecting to GPI devices
• Two (2) LED console lights with XLR connectors
• Thunderbolt to Gigabit Ethernet adapter for connecting to
the Thunderbolt port of a qualified Pro Tools computer
Operational Requirements
Connection Requirements
Temperature and Ventilation
Power Connections
S3L system devices should be operated away from heat sources
and with adequate ventilation.
Power connections on all S3L system devices are auto voltage-selecting (100 to 240V nominal, 90-260V maximal, 50–60 Hz).
Hardware monitoring and automatic warnings are provided
for temperature, power and other factors. For more information, see “Hardware Monitoring Window” on page 294.
Make sure your power source is correctly rated for the number of
units you are connecting. A surge-protected power source (not included) is highly recommended.
Storage
Audio Connections
S3L system devices should be stored and transported at temperatures not lower than 0 degrees F (–18 degrees C) and not exceeding 140 degrees F (60 degrees C).
Operation
S3L system devices should be operated at temperatures not lower
than 40 degrees F (4 degrees C) and not exceeding 104 degrees F
(40 degrees C).
During operation, the bottom panels of the S3 control surface, the
front and back panels of E3 engine, and the side panels of the
Stage 16 should be exposed to ambient air. Do not block the ventilation holes on any S3L system component.
Do not operate in direct sunlight or at extreme ambient temperatures.
Water and Moisture
S3L system devices should be operated away from sources of direct moisture and should be kept clear of liquids that might spill
into the units. If condensation is present on the unit, leave the unit
to dry in ambient air for at least one hour before powering the unit
on.
Storage humidity range
5% to 95%, non-condensing
Operating humidity range
20% to 80%, non-condensing
Cleaning and Maintenance
Use a dry cloth to clean the surfaces of the S3L components. Do
not apply any cleaning solutions, spray cleaners, or abrasives to
the surface.
• All audio inputs and outputs (except Headphones) are balanced XLR and/or balanced 1/4-inch connections.
• All 1/4-inch connections support balanced (TRS) and unbalanced (TS) connections.
• All external digital audio inputs and outputs are AES/EBU
(XLR) connections.
For more information on audio connectors and specifications, see Chapter 27, “Audio Specifications.”
Audio Network Connections
Shielded Cat 5e (350 MHz) or better Ethernet cable with Neutrik
etherCON connectors are required for primary and redundant audio network connections between the console, the E3 engine, and
any Stage 16 boxes. Maximum distances of 100m are supported
for all audio network connections.
Pro Tools Connections
Shielded Cat 5e (350 MHz) or better Ethernet cable with RJ-45
connectors is required for the Ethernet AVB connection to
Pro Tools.
ECx Ethernet Control Connections
Standard Cat 5e Ethernet cable with RJ-45 connectors are supported for ECx remote control connections to a client computer or
wireless/wired router.
System Requirements and
Compatibility
Avid can only assure compatibility and provide support for hardware and software it has tested and approved. For complete system requirements and a list of qualified computers, operating systems, hard drives, and third-party devices, visit:
www.avid.com/compatibility
Chapter 1: Introduction to the S3L System 5
About www.avid.com
Conventions Used in This Guide
The Avid website (www.avid.com) is your best online source for
information to help you get the most out of your system. The following are just a few of the services and features available.
All of our guides use the following conventions to indicate menu
choices and key commands:
:
Convention
Action
Support and Downloads Contact Customer Success (technical
Options > System
support); download software updates and the latest online manuals; browse the Compatibility documents for system requirements or search the online Knowledgebase.
In the VENUE software, click
Options to display the Options tab,
then click the System tab.
File > Save
Choose Save from the File menu
Training and Education Study on your own using courses avail-
Control+N
Hold down the Control key and
press the N key
able online or find out how you can learn in a classroom setting at
a certified Avid training center.
Control-click
Hold down the Control key and click
the mouse button
Products and Developers Learn about Avid
Right-click
Click with the right mouse button
Product Registration Register your purchase online.
products; download demo software or learn about our Development Partners and their plug-ins, applications, and hardware.
News and Events Get the latest news from Avid or sign up for a
product demo.
Pro Tools Accelerated Videos Watch the series of free tutorial
videos. Accelerated Videos are designed to help you get up and
running with Pro Tools and its plug-ins quickly.
The names of Commands, Options, and Settings that appear
on-screen are in a different font.
The following symbols are used to highlight important information:
User Tips are helpful hints for getting the most from your system.
Live Sound Webinars Watch free tutorial videos and live sys-
tem-specific webinars to learn from the experts.
To learn more about these and other resources available from
Avid, visit our website (www.avid.com).
Important Notices include information that could affect your
data or the performance of your system.
Shortcuts show you useful keyboard or mouse shortcuts.
Registration
Review the enclosed Registration Information Card and follow
the printed instructions to quickly register your purchase online.
By registering, you become eligible to receive the following:
• Technical support information
• Software update and upgrade notices
• Hardware warranty information
Cross References point to related sections in this guide and
other VENUE guides.
Hardware Switches on S3 Control
Surface
The names of switches on the S3 control surface are in bold (such
as Sel). The Shift switch on the S3 is indicated by bold text, in
all-caps (SHIFT) to distinguish it from references to the Shift key
on your QWERTY keyboard.
SHIFT and SHIFT Lock
The SHIFT switch on the S3 is used in conjunction with other
keys to access secondary functions Some switches have secondary functions, highlighted in gray above the primary function
(such as < Bank/Home, where Home is the secondary function).
The following terminology is used to describe SHIFT functions.
Example:
• “Press and hold the SHIFT switch then press the Back/Top
switch”
is written as
• “Press SHIFT+Back/Top”
6
S3L System Guide
How to Use this PDF Guide
These are some useful features of this PDF:
• The Bookmarks on the left serve as a continuously visible
table of contents. Click on a subject heading to jump to that
page.
• Click a + symbol to expand that heading to show subheadings. Click the – symbol to collapse a subheading.
• The Table of Contents provides active links to their pages.
Select the hand cursor, allow it to hover over the heading
until it turns into a finger. Then click to locate to that subject
and page.
• All cross references and Index entries are active links. Allow the hand cursor to hover over the reference until it turns
into a finger and click to follow the reference.
• Select Find from the Edit menu to search for a subject.
Chapter 1: Introduction to the S3L System 7
Chapter 2: Configuring and Connecting
The chapter shows how to get your S3L system up and running by
doing the following:
• Unpack and assemble the components
• Connect the following:
• Power
• Peripherals (monitor, USB keyboard and mouse)
Unpacking and Assembling System
Components
Unpacking S3L System Components

Remove all components from the shipping packaging.
Place the S3 control surface on a table or other stable surface
that leaves full access to its front and back panel.

• S3 control surface, E3 engine, and any Stage 16 remote I/O
boxes
• Power up the system
• Configure system Stage I/O
 Locate the E3 engine at the mix position along with the S3
control surface.
• Set the system clock
Make sure all components are free of any bags, padding or
other materials.
• Connect Audio (S3 control surface, E3 engine, and Stage 16
inputs and outputs), synchronization, and lights


Keep cables and other included items organized, making sure
to keep them with their associated component after unpacking.
• Install other optional software or updates
Chapter 2: Configuring and Connecting 9
Configuring Stage 16 Rack Ears/Handles
Stage 16 can be rack-mounted, or it can be used freestanding. If you are using Stage 16 freestanding, you can configure the rack ears to
function as handles. Rubber edging protects the box when used freestanding. To ensure proper airflow, make sure the vents on either
side of Stage 16 are always exposed.
Stage 16 configured with Rack ears (left) and handles (right)
To configure the Stage 16 rack ears as handles:
1
Using a 3/32-inch hex wrench or hex driver, remove the 16 hex screws (eight per side) that secure the rack ears to the Stage 16.
Removing the rack ear/handle screws
10
S3L System Guide
2
Remove the rack ears from the Stage 16.
3
Replace the rack ears on the Stage 16 so they function as handles, lining up the screw holes on the handles with the screw holes on
the Stage 16, and replace the 16 screws (eight per side).
Replacement screws are provided with the Stage 16 in case any screws are lost.
Replacing the rack ear/handles screws
Chapter 2: Configuring and Connecting 11
Stage 16
Connecting Power
S3 Control Surface
The external PSU for the S3 control surface is connected to the
DC input on the S3 and to your power source.
The AC power input for the Stage 16 is located on the back/bottom panel of the box. One male, 3-pin North American standard
IEC power socket with cable retaining tie is provided. The input
and power switch are recessed to allow the box to sit on its back.
To connect power to the Stage 16:
To connect power to the S3 control surface:
1
1
Connect one end of the included IEC power cable from the external PSU to your power source. Make sure the power cable is
pushed all the way into the PSU.
Connect the included IEC power cable from the AC power input on the back of Stage 16 to your power source.
Connecting the IEC power cable to the S3 control surface PSU
2
Connect the cable with the 4-pin connector that is attached to
the PSU to the DC power input on the back panel of the S3. To
correctly align the pins on the connector with the power input,
make sure the arrow on the connector faces up.
Stage 16 AC power input, power switch, and cable tie
2
S3 control surface DC power input
E3 Engine
The AC power input for the E3 engine is located on the back
panel.
To connect power to the E3 engine:
1-2
3-4
OUTPUT
AES OUTPUT
Connect the included IEC power cable from the AC power input on the back panel of the E3 engine to your power source.
INPUT

A
E3 engine AC power input
12
S3L System Guide
B
(Optional) Secure the power cable to the rack using the built-in
cable tie.
Connecting Peripherals
Connecting the S3L System
Connecting a Monitor
After connecting power and peripherals, make audio network
connections between S3L system components. You can also
make audio network connections to Pro Tools, and to a router or
client computer for remote control of your S3L system using ECx
Ethernet Control.
A DVI connector is provided on the E3 engine to connect a
DVI-D compatible video monitor (not included).
1-2
3-4
B
• For connecting a multiple-Stage 16 system, see “Connecting a Multiple-Stage 16 System” on page 15.
3-4
NETWORK
A
ECx
AES INPUT
• For connecting a single-Stage 16 system see “Connecting a
Single-Stage 16 System” on page 14.
S3L Network Connections Overview
2 x IN
2 x OUT
C
WORD CLOCK
E3 engine back panel DVI monitor port
To connect a monitor:

Plug a DVI-D compatible monitor cable from the DVI connector on the back panel of the E3 engine to your DVI monitor.
VGA monitors are not compatible with the S3L system.
Connecting a USB Keyboard and Mouse
There are two USB 2.0 ports on the back of the S3 control surface
to connect a USB keyboard and trackball/mouse.
The S3L system has two discrete networks, the AVB audio network and the ECx Ethernet Control network. The AVB audio network connects all S3L system components and Pro Tools. The
ECx network connects a client computer or other device (directly
or via network equipment) to S3L to enable remote control of
your system.
S3L System AVB Audio Network Connections
Direct connections are required for all AVB audio network connections between S3L system components, and between the S3
control surface and Pro Tools.
Do not connect network equipment such as routers, hubs
and switches to any S3L system Network ports.
S3L System Components
Connections are required between the S3 control surface and the
E3 engine, and between the E3 engine and all Stage 16 boxes.
Pro Tools
S3 control surface back panel USB ports
To connect a USB keyboard and trackball/mouse:

Plug the keyboard and trackball/mouse into the USB ports on
the back of the S3 control surface.
Use these USB ports for mouse and keyboard connections
only. Connect USB data storage devices and iLoks to available USB ports on the E3 engine.
When performing a system update or system restore, the
keyboard and mouse must be connected to the E3 engine.
See “Using the System Restore Software” on page 296.
You can connect a qualified computer running a compatible version of Pro Tools software to the S3 control surface for recording
and playback I/O and for VENUE Link data communication. For
more information on installing and using Pro Tools, see
Chapter 25, “Pro Tools Recording and Playback.”
Use only the required audio network cables to make audio
network connections between S3L system components and
Pro Tools. See “Audio Network Connections” on page 5.
ECx Ethernet Control Connections
You can connect a network router, hub, switch, or a client computer directly to the ECx port on the E3 engine and control the
S3L system remotely. ECx host and client software must be installed to enable ECx. For more information on installing and using ECx, see Chapter 31, “ECx Ethernet Control.”
Chapter 2: Configuring and Connecting 13
Connecting a Single-Stage 16 System
To connect a single-Stage 16 system:
1
Connect an audio network cable from Network port A on the back of the S3 control surface to Network port A on the E3 engine.
2
Connect an audio network cable from an available Network port B on the E3 engine to Network port A on the Stage 16.
3
(Optional) To make a redundant audio network connection, connect an audio network cable from Network port C on the E3 engine
to Network port B on the Stage 16.
4
(Optional) To connect to a Pro Tools computer for recording and playback, connect a supported Ethernet cable from Network port B
on the S3 control surface to an available Ethernet port on the computer (or to a Thunderbolt port using a Thunderbolt to Ethernet
adapter if an Ethernet connector is not present on the computer).
Do not connect network equipment such as routers, hubs and switches to any S3L system Network ports.
5
(Optional) To connect to a router or computer for ECx Ethernet Control, connect a standard Ethernet cable from the port labeled ECx
on the E3 engine to the router or client computer.
6
Proceed to “Powering Up the System” on page 16.
1-2
1-2
3-4
NETWORK
A
ECx
5
3-4
OUTPUT
INPUT
4
AES INPUT
AES OUTPUT
1
B
2 x IN
2 x OUT
WORD CLOCK
C
2
INPUT
ANALOG
INPUT
ANALOG
3
3
4
5
6
7
8
NETWORK
OUTPUT
AES DIGITAL
2
OUTPUT
ANALOG
OUTPUT
ANALOG
1
A single-Stage 16 S3L system with fully redundant audio network connections
14
S3L System Guide
Connecting a Multiple-Stage 16 System
Connections for a four-Stage 16 box system are shown, but the instructions are applicable for any system using more than one Stage 16.
To connect a multiple-Stage 16 system:
1
Connect an audio network cable from Network port A on the back of the S3 control surface to Network port A on the E3 engine.
2
Connect an audio network cable from Network port B on the E3 engine to Network port A on the first Stage 16.
3
Daisy-chain the first Stage 16 to the second Stage 16 by connecting an audio network cable from Network port B on the first Stage
16 to Network port A on the second Stage 16.
4
If applicable, daisy-chain Stage 16 boxes 2 and 3, and 3 and 4 in the same manner.
5
(Optional) To make a redundant audio network connection, connect an audio network cable from Network port B on the last Stage 16
in the chain to Network port C on the E3 engine.
6
(Optional) To connect to a Pro Tools computer for recording and playback, connect a supported Ethernet cable from Network port B
on the S3 control surface to an available Ethernet port on the computer (or to a Thunderbolt port using a Thunderbolt to Ethernet
adapter).
Do not connect network equipment such as routers, hubs and switches to any S3L system Network ports.
7
(Optional) To connect to a router or computer for ECx Ethernet Control, connect a standard Ethernet cable from the port labeled ECx
on the E3 engine to the router or client computer.
8
Proceed to “Powering Up the System” on page 16.
1-2
1-2
3-4
NETWORK
A
B
ECx
3-4
OUTPUT
WORD CLOCK
C
5
4
5
6
7
8
1
3
4
5
6
7
8
OUTPUT
ANALOG
OUTPUT
ANALOG
OUTPUT
AES DIGITAL
4
NETWORK
NETWORK
OUTPUT
AES DIGITAL
2
OUTPUT
ANALOG
3
OUTPUT
ANALOG
2
INPUT
ANALOG
INPUT
ANALOG
INPUT
ANALOG
2
1
7
2 x IN
2 x OUT
INPUT
ANALOG
INPUT
6
AES INPUT
AES OUTPUT
1
5
6
7
INPUT
ANALOG
8
1
2
3
4
5
6
7
8
OUTPUT
ANALOG
OUTPUT
ANALOG
4
NETWORK
OUTPUT
AES DIGITAL
3
NETWORK
OUTPUT
AES DIGITAL
2
OUTPUT
ANALOG
OUTPUT
ANALOG
1
INPUT
ANALOG
INPUT
ANALOG
INPUT
ANALOG
3
4
A four-Stage 16 S3L system (maximum configuration) with fully redundant audio network connections
Chapter 2: Configuring and Connecting 15
Powering Up the System
4
To power on the first Stage 16, do the following
• Locate the power switch on the back of the Stage 16 and
press the switch to the On position. The Status LED on the
front panel is lit solid yellow while Stage IO box initializes.
After connecting your system components, power up your system.
Faders on the S3 control surface move when power is turned
on. Before powering up the S3 control surface, make sure all
fader paths are clear.
Power up the system in the following sequence:
Power on the connected video monitor.
2
To power on the S3 control surface, locate the switch on the
back of the S3 and press the switch to the On position. The faders on the S3 jump, and the channel strip Select (Sel) switches
next to the faders flash to indicate that the S3 is booting up.
Power switch on the back of Stage 16
• Wait for the Stage 16 to initialize. Initialization is complete
when the Power and Status LEDs on the Stage IO box front
panel are lit solid green.
INPU
ANAL
1
1
3
Power on the E3 engine by sliding the front-panel Power
switch to the right. The associated LED lights green, and the
VENUE splash screen appears on the connected video monitor.
.
Power
2
3
OUTPUT
ANALOG
S3 control surface Power switch
Stage 16 Power and Status LEDs
5
Power on any other Stage 16 boxes in the system.
6
Turn on any connected computers for recording/playback.
7
Turn on the audio monitoring system.
8
Proceed to “Confirming and Configuring System Components” on page 17.
Powering Down the System
Power down the system in the following sequence:
Power switch and lit LED indicating the device is powered on
.
1
Turn off the audio monitoring system.
2
Turn off any connected computers for recording/playback.
3
Shut down your system by doing the following:
• Put the system into Config mode (see “Enabling Config
Mode” on page 17).
• Go to the Options tab and click the System tab.
• Click Shut Down.
• Click Shut Down again to confirm.
VENUE splash screen
16
S3L System Guide
4
Power off the S3 control surface.
5
Power off any connected Stage 16 boxes.
Confirming and Configuring System
Components
Once you have connected and powered up your system, do the
following to configure your system:
• Confirming System Components
• Put your system into Config mode
• Configure your system for the first time
Enabling Config Mode
There are two main operating modes for the S3L system, Config
mode and Show mode. Use Config mode to accomplish tasks
such as setting up your system, configuring options, and installing software such as plug-ins and system updates. Use Show
mode to mix your performance.
To enable Config mode, do one of the following:
1
You can reconfigure your system any time after the initial
setup. See “Managing Stage I/O” on page 20.
Confirming System Components
After connecting and powering up system components, you can
confirm system components in the VENUE software screen.
To confirm system components:
1
On-screen, click Options.
Press the Config switch on the S3 control surface. The Config
switch lights, and Config is indicated in the Mode display in
the on-screen Status Bar.
Top
Back
Config
Expnd
Page
Page
Config switch on the S3 control surface
– or –
• On-screen, double-click the Mode display in the Status Bar, located in lower-right hand corner of the screen. The Config
switch lights, and Config is indicated in the Mode display.
Clicking Options
Enabling Config mode on-screen
2
Click the Devices tab. All connected and powered on hardware
devices appear on the Devices tab. You can also edit hardware
settings, and troubleshoot and reset VENUE system components using the Devices tab.
2
Proceed to “Configuring Your System for the First Time” on
page 18.
Devices tab
If any components do not appear, check all network connections between components, and make sure all components are powered on. For more information see
Chapter 29, “Troubleshooting.”
3
Proceed to “Enabling Config Mode."
Chapter 2: Configuring and Connecting 17
Configuring Your System for the First
Time
When you configure your system for the first time, you assign
Stage 16 boxes to available Stage slots in the Options > Devices
tab. Each Stage 1–4 slot corresponds to a Stage 1–4 hardware tab
in the VENUE Patchbay.
5
Click the flashing Identify button to unlatch it.
6
Locate the Stage section. Empty Stage slots are indicated by
the text Drag I/O Box Into Slot.
7
Click-and-drag the Stage 16 box to Stage slot 1 (the leftmost
slot).
If you are using more than 48 Stage inputs, you must configure your system for 64 Input Channels. See “Setting the
Input Channel Configuration” on page 72.
To configure your system for the first time:
1
Make sure your system is in Config mode.
2
Go to Options > Devices.
3
Locate the Unassigned section of the Options > Devices tab.
All connected and powered on Stage 16 boxes appear here.
A Stage 16 assigned to slot 1 in the Options > Devices tab
The I/O on that Stage 16 is now available to be assigned to system
input and output channels in the VENUE Patchbay under the
Stage 1 hardware tab.
Unassigned Stage 16 boxes in the Options > Devices tab
If any connected Stage 16 boxes do not appear in the Unassigned section, check network and power connections.
4
Click the Identify button on the first (left most) Stage 16 box to
latch the button on. The Identify button on-screen flashes, and
the Power and Status LEDs on the front panel of the corresponding Stage 16 box flash.
Stage 1 hardware tab in the Patchbay (Inputs shown).
Each assigned Stage 16 has on-screen LEDs that indicate
the status of the device’s A and B Network ports. You can
also mute all outputs on the Stage 16. See “Devices” on
page 66 for more information.
8
If a second Stage 16 box is connected, identify it and drag it to
the second slot. The I/O on that Stage 16 is now available in
the VENUE Patchbay under the Stage 2 hardware tab.
9
Repeat for any other connected Stage 16 boxes.
Identify button
INPUT
ANALO
You can reassign Stage 16 boxes at any time after the initial
set up. Depending on hardware combinations being used,
you may be required to. See “Managing Stage I/O” on
page 20 for more information.
10
OUTPUT
ANALOG
1
Stage 16 Power and Status LEDs
18
S3L System Guide
2
3
Proceed to “Naming System Components” on page 19.
Naming System Components
How to Proceed
You can name the S3 control surface, the E3 engine, and any connected and assigned Stage 16. The device name is stored with the
respective device, and stays with that device until it is changed.
Names can be changed at any time.
After setting the system clock, proceed to any of the following
sections:
To name the S3 control surface and the E3 engine:
1
In the Options > Devices tab, right-click the component
graphic and choose Rename from the pop-up menu.
2
Enter a name into the text box and press Enter.
You can physically label a Stage 16 with its corresponding
device name. A labeling plate on Stage 16 is provided for
this purpose.
3
Proceed to “Setting the System Clock” on page 19.
Setting the System Clock
• To review the available audio and control connections,
switches, and indicators on S3L system components, see “Audio and Control Connections, Switches, and Indicators” on
page 21.
• To get started learning the S3 control surface and software, see
Chapter 3, “S3L System Control Overview.”
• If you want to install any other optional software first (such as
ECx or included plug-ins), see “Installing Additional Software” on page 25.
The S3L system comes pre-loaded with demo Show files,
which offer preset system configurations for some of the
most common mixing scenarios. See “Loading a Show” on
page 182 for instructions on loading Show files.
When you first work with a VENUE system, make sure the system clock time, date and time zone are set appropriately.
The system clock time can be shown in the Status bar for
constant time-of-day display. For more information, see
“System Clock” on page 63.
To set the System Clock:
1
Go the Options tab and click the Misc tab.
2
In the System Clock section, click the Format pop-up menu to
set the time format (12 Hour AM/PM or 24 Hour).
3
Click the Edit button in the System Clock section.
Clicking the System Clock Edit button
4
Set the time, date, and current time zone.
.
Time, Date, and Zone settings
5
Click Apply.
Chapter 2: Configuring and Connecting 19
Managing Stage I/O
Removing a Stage 16
When power-cycling your system and/or reconnecting Stage 16
boxes to the same E3 engine, the original Stage 1–4 assignments
are automatically recalled, regardless of the order in which they
are connected.
You can remove a Stage 16 box from your configuration so that
it does not appear in the Options > Device tab. Do this if you are
removing a connected Stage 16 from your configuration, or if a
Stage 16 from a previous configuration is not connected and you
want to dismiss warning dialogs.
Depending on the hardware combinations being used, however,
you may want or need to reconfigure system Stage I/O. For example, if you are mixing and matching S3L system components,
you can remove previously connected Stage 16 boxes from your
configuration, and add new Stage 16 boxes to your system.
You can reconfigure Stage I/O on the Options > Devices tab any
time after the initial system set up and configuration. You can reassign connected Stage 16 boxes, remove Stage 16 boxes from
the current configuration, and add new Stage 16 boxes to the current configuration.
To remove a Stage 16 box from the current configuration:
1
Put the system into Config mode.
2
Go to Options > Devices.
3
Do either of the following depending on the status of the
Stage 16:
• To remove a connected Stage 16, right-click the graphic of
the corresponding Stage 16 and choose Disconnect.
• To remove a Stage 16 that is not connected (indicated by an
alert symbol over the device), right-click the graphic of the
corresponding Stage 16 and choose Forget IO Box Assignment.
Reassigning a Stage 16
You can reassign an assigned Stage 16 to a different Stage 1–4
slot. For example, for a particular stage setup you may want to rearrange the order of Stage 16 boxes.
To reassign a Stage 16:
1
Put the system into Config mode.
2
Go to Options > Devices.
3
Click and drag any of the Stage 16 boxes that you want to reassign to the Unassigned section. The Stage 16 is automatically muted.
4
20
Click and drag each Stage 16 from the Unassigned section to
the desired empty Stage slot. The Stage 16 is automatically
unmuted, and the I/O on that Stage box is now available to be
assigned to VENUE system channels under the corresponding
Stage 1–4 hardware tab in the VENUE Patchbay.
S3L System Guide
The I/O for that Stage 16 is now grayed out under the corresponding Stage 1–4 hardware tab in the Patchbay.
Adding a Stage 16
Any Stage 16 not previously connected to the current E3 engine
must be assigned to a Stage 1–4 slot for its I/O to be available to
the system.
To add a new Stage 16 to your system:
1
Put the system into Config mode.
2
Go to Options > Devices.
3
Connect the new Stage 16 box at any point in the audio network and power it on. The Stage 16 appears in the Unassigned
section of the Options > Devices tab.
4
Drag the new Stage 16 to the desired Stage 1–4 slot. The I/O
on that Stage box is now available to be patched to VENUE
system channels under the corresponding Stage 1–4 hardware
tab in the VENUE Patchbay.
5
If desired, name the assigned Stage 16 (see “Naming System
Components” on page 19).
Audio and Control Connections, Switches, and Indicators
Before making any audio connections, make sure your audio monitoring system is turned down or muted.
S3 Control Surface Connections and Switches
10
9
4
8
7
6
3
2
1
10
5
S3 control surface back panel
Audio Connections
S3 control surface audio I/O is assigned to VENUE system channels using the Patchbay, under the Console tab.
Each Network port has Act and Sig LEDs to indicate network status. See.“Network Port Snake Act and Sig LEDs”
on page 277 for more information.
• To assign inputs, see “Assigning Input Sources to Channels” on page 74.
• To assign outputs, see “Assigning Busses to Hardware Outputs” on page 89.
1 – Analog Mic/Line Inputs 1–2
(Two XLR Connectors)
Control, Power and Light Connections
6 – USB Ports
Connect a USB computer keyboard and a USB mouse for control of the VENUE system on-screen.

Connect microphones and/or line-level analog audio sources
such as audio playback devices to these inputs.

2 – Analog Line Inputs 3–4
(Two 1/4-inch TRS Connectors)
Connect line-level analog audio sources such as electronic
keyboards and effects units to these inputs.

3 – Analog Outputs 1–4
(Two XLR Connectors, Two 1/4-inch TRS Connectors)
 Connect these outputs to destinations such as system processors and near field monitors.
4 – Headphone Output
 Connect a standard 1/4-inch stereo headphone connector to
this connector. Volume is controlled using the Headphone volume
knob located along the right-front edge of the S3 control surface.
S3 control surface USB ports do not support iLoks, USB
flash drives, or other types of USB devices. Use the USB
ports on the E3 engine for these devices.
7 – Footswitch Connector
(1/4-inch TRS Connector)
 Connect a footswitch to this connector. The footswitch can be
normally open or normally closed, latching or momentary. Functions such as Tap Tempo for delay times are assigned to these
connectors using the on-screen Options > Events tab.
8 – DC Power In
This connector accepts the DC cable from the included power
supply adapter.
9 – Power Switch
5 – Network Ports A and B
(Two RJ-45 Ports with etherCON Connectors)
The rocker-type power switch applies power to the S3 control
surface. It can be left in the On position for use with power sequencers.
Connect the E3 engine to one of these ports using a supported
audio network cable.
10 – Console Lights
(Two XLR-F Connectors)

 Connect a compatible Pro Tools system to one of these ports
using a supported audio network cable for integrated Pro Tools
recording, playback and interoperability.

Connect console lights (not included) to these connectors. You
can adjust the brightness of the console lights from the
on-screen Options > Interaction tab (see “Lights” on page 65).
Chapter 2: Configuring and Connecting 21
1-2
3
1-2
3-4
3-4
2
A
B
7
2 x IN
2 x OUT
WORD CLOCK
C
5
10
ECx
AES OUTPUT
4
NETWORK
OUTPUT
1
AES INPUT
11
INPUT
E3 Engine Connections and Switches
9
6
8
E3 engine back panel
Audio Connections
Control and Power Connections
E3 engine audio I/O is assigned to VENUE system channels using the Patchbay, under the Engine tab.
6 – USB 2.0 Ports

• To assign E3 engine inputs to VENUE system channels, see
“Assigning Input Sources to Channels” on page 74.
• To assign outputs, see “Assigning Busses to Hardware Outputs” on page 89.
1 – Analog Mic/Line Inputs 1–4
(Four XLR Connectors)
Connect microphones and/or line-level analog audio sources
such as audio playback devices to these inputs.

2 – Analog Outputs 1–4
(Four XLR Connectors)
 Connect these outputs to destinations such as system processors and near field monitors.
3 – AES Digital Inputs
(Two XLR AES/EBU Connectors)
Connect digital audio sources such as effect units or playback
devices to these inputs. Four channels on two stereo connectors
are provided. 24-bit, 48 kHz digital signals are supported.

Connect USB flash drives or other compatible USB storage
devices for data transfer, and/or for 2-track recording and playback.

These ports also support MIDI connections.
MIDI Connections
Each USB port provides 16 channels of MIDI input and 16 channels of MIDI output to and from the system with a compatible
MIDI interface. Connection to one MIDI interface is supported.
You can send and receive snapshot MIDI messages, receive
MIDI Time Code (MTC) from external devices, and send MTC to
external devices.
Visit our website, www.avid.com/S3Lsupport, for a list of
compatible MIDI interfaces.
To make MIDI connections:

The AES digital inputs on the E3 engine provide sample rate
conversion on input. See “About Digital Input and Sample
Rate Conversion” on page 235 for more information.
4 – AES Digital Outputs
(Two XLR AES/EBU Connectors)
Connect an iLok Smart Key (for plug-in authorization).
Connect a compatible MIDI interface to one of the USB ports
on the E3 engine. A valid MIDI connection is shown in the External Devices section of the Options > Devices tab.
For more information on using MIDI with VENUE, see
Chapter 22, “Synchronization.”
7 – DVI Monitor Port
Connect a DVI monitor (not included) to view the VENUE
software screen.

Connect these outputs to digital output destinations such as
system processors and recording devices. Four channels on two
stereo connectors are provided.
8 – Word Clock I/O
(Two BNC Connectors)
5 – Network Ports A, B, and C
(Two RJ-45 Ports with etherCON Connectors)
These ports let you connect to the word clock ports of external
digital devices to sync all digital devices in your system.

Connect the S3 control surface and up to four Stage 16 boxes
to these ports using supported audio network cables.

22
S3L System Guide
See “Synchronizing with Word Clock and Digital Audio
Input” on page 234 for more information.
9 – GPI Port
10 – ECx Port
A 9-pin, female DB9 connector provides a 2-in/2-out GPI General Purpose Interface (GPI). For specifications, wiring diagrams
and pinouts, see Chapter 30, “GPI Port Reference.”
This port provides connection to a computer or router to enable
ECx Ethernet Control (remote control of the VENUE system).
See Chapter 31, “ECx Ethernet Control” for more information.
GPI Applications
11 – AC Power Input
GPI inputs can be connected to the outputs of a variety of switching devices such as footswitches, momentary or latching
push-button switches, or to the logic outputs of a larger show control system. Example applications of GPI inputs include remote
toggling of an S3 control surface function such as Talkback, muting a channel, or recalling a specific snapshot.
The AC power input accepts a standard IEC AC power cable
(included). The E3 engine power supply is auto power selecting
(100V–240V, 50–60 Hz), and automatically works with a
standard modular power cable when connected to an AC
receptacle in any country.
GPI outputs connect to compatible inputs found on a variety of
external devices such as LEDs, small relays, power sequencers,
and logic inputs on show control systems.
Example applications of GPI outputs include the following:
• Triggering a sound effects playback machine when a specific
snapshot is recalled.
• Lighting a tally light whenever a fader is raised above a minimum threshold.
• Flashing or lighting a custom beacon or LED as a reminder of
vital console mode, such as Solo in Place.
• Initiating power up of amplifiers and other down-stream systems when VENUE system is started up or shut down.
GPI functions are managed using the Events list on the
Options > Events tab. For more information, see Chapter 21,
“Events.”
To connect GPI devices to the E3 engine:
1
Connect one end of a DB9 cable (not included) to the GPI port
on the back panel of the E3 engine.
2
Connect the other end to the appropriate GPI port on the external device.
Power Switch
(Front Panel)
The sliding power switch on the front panel of E3 engine powers
the device on and off. The associated LED lights to indicate the
E3 engine is powered on and ready for use.
Interior Secure USB Port
One USB 2.0 port is located within the E3 engine itself to connect
and securely protect an iLok Smart Key. Use this port to keep one
“master” iLok and its plug-in assets with the console at all times,
safe from damage or loss.
The top panel of the E3 engine must be removed to access
the secure USB port. See “E3 Engine Secure USB Port” on
page 315.
Front Panel USB Port
Connect iLok Smart Keys (for plug-in authorization), USB flash
drives (for data transfer and/or 2-track recording/playback) or
other compatible USB devices to these ports.
Chapter 2: Configuring and Connecting 23
5
1
2
3
4
5
6
7
6
8
OUTPUT
ANALOG
OUTPUT
ANALOG
1
2
NETWORK
OUTPUT
AES DIGITAL
INPUT
ANALOG
INPUT
ANALOG
Stage 16 Connections and Switches
3
4
Stage IO Box front panel
Stage 16 Audio Connections
Stage 16 audio I/O is assigned to VENUE system channels under
the Stage 1–4 tabs in the Patchbay. Each Stage 16 has its own tab
in the Patchbay, which corresponds to the slot the Stage 16 is assigned to in the Options > Devices tab.
• To assign Stage 16 inputs to VENUE system channels, see
“Assigning Input Sources to Channels” on page 74.
Stage 16 Control and Power Connections,
Switches, and Indicators
5 – Power and Status LEDs
Two bi-color Power and Status LEDs on the front panel are provided to indicate operating mode status, error codes and warnings.
See “Power and Status LED Codes” on page 277 for more
information on the LED codes.
• To patch outputs, see “Assigning Busses to Hardware Outputs” on page 89.
1 – Analog Mic/Line Inputs
(16 XLR Connectors)
Connect microphones and other line-level sources to these inputs.

2 – Analog Outputs
(Eight XLR Connectors)
6 – Mute Switch and LED
The Mute switch mutes all Stage 16 outputs. The switch LED
flashes red to indicate that all outputs are muted. This switch mirrors the on-screen Mute button in the Options > Devices tab.
To mute all Stage 16 box outputs:

Connect these outputs to destinations such as house/mains,
monitors, additional zones, and feeds to other devices.

3 – AES Digital Outputs
(Two XLR AES/EBU Connectors)
Slide the Mute switch towards the Mute LED and hold for 2
seconds. The Mute LED flashes red, and a dialog box appears
on-screen indicating that outputs are muted on the respective
Stage 16 box.
To unmute Stage 16 box outputs:
Slide the Mute switch towards the Mute LED again until the
LED stops flashing.
 Connect these outputs to destinations such as system processors, AES input-equipped power amplifiers, or feeds to other digital devices. Four channels on two stereo connectors are provided.

4 – Ethernet Ports A and B
(Two RJ-45 Ports with etherCON Connectors)

Connect the E3 engine and other Stage 16 boxes to these ports
using supported audio network cables.
AC Power Input (Back Panel)

– or –
Click the Exit button in the Mute All Outputs dialog box
on-screen.
The recessed AC power input accepts a standard AC power cable
(included). The Stage IO box power supply is auto power selecting (100V–240V, 50–60 Hz), and automatically works with a
standard modular power cable when connected to an AC receptacle in any country.
24
S3L System Guide
AC Power Switch (Back Panel)
The Power switch applies power to the Stage 16 box. The power
switch is latching, so that when left in the On position, the device
powers up when AC power is applied to it, allowing for the use of
power sequencers.
Installing Additional Software
After having unpacked, assembled, connected, and powered up
your S3L system, you can manually install any additional software, as follows:
VENUE Software Update A VENUE software update may be
available for your system. If an update is available, download and
install it.
To check your system software, in VENUE go to the
Options > System tab
Plug-Ins A core set of plug-ins are pre-installed on your system.
Any additional plug-ins (such as the S3L Plug-In pack) must be
activated and installed. See Chapter 17, “Plug-Ins” for installation and operational information.
ECx Ethernet Control ECx Ethernet Control software must be installed on both your S3L system and your remote device. For instructions, see Chapter 31, “ECx Ethernet Control.”
Chapter 2: Configuring and Connecting 25
Part II: Description
Chapter 3: S3L System Control Overview
This chapter provides an overview of S3L system controls on the console and on-screen. Most VENUE features and controls that are
used during a performance are available from both the console and on-screen. Changes made on one are immediately reflected in the
other, letting you use almost any combination of console and screen controls to mix.
S3 Control Surface Top Panel Overview
The following figure identifies the three main sections of the S3 control surface.
B
Input
Dyn
Insert
Group
Aux
Top
Back
In
Page
Expnd
Page
Top
Back
Source
Page
Page
Gain
HPF
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
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
Mix
Pan
Aux
Flip
Channel
Flip
Solo
Solo
Solo
Solo
Solo
Solo
Solo
Solo
Solo
Solo
Solo
Solo
Solo
Solo
Solo
Mute
Mute
Mute
Mute
Mute
Mute
Mute
Mute
Mute
Mute
Mute
Mute
Mute
Mute
Mute
Mute
B
F
Multi
Assign
12
12
12
12
12
12
12
12
12
12
12
12
12
12
12
12
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
6
Sel
Sel
D
OK
A
Rec
Sel
5
A
Rec
5
Sel
0
A
Rec
5
10
Sel
0
A
Rec
5
10
Sel
0
A
Rec
5
10
Sel
0
A
Rec
5
10
Sel
0
A
Rec
5
10
Sel
0
A
Rec
5
10
Sel
0
A
Rec
5
10
Sel
0
A
Rec
5
10
Sel
0
A
Rec
5
10
Sel
0
A
Rec
5
10
Sel
0
A
Rec
5
10
A
Rec
5
Page
Nudge
Nudge
Home
Bank
End
Bank
View 1
View 2
0
A
Rec
5
10
C
30
20
+20/Clip
30
20
+20/Clip
30
20
+20/Clip
30
20
+20/Clip
30
20
+20/Clip
30
20
+20/Clip
30
20
+20/Clip
30
20
+20/Clip
30
20
+20/Clip
30
20
+20/Clip
30
20
+20/Clip
30
20
+20/Clip
30
A
Rec
5
10
20
+20/Clip
30
+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
0
-9
-15
40
60
0
-3
40
0
-3
60
-9
-15
-9
-15
40
60
0
-3
-9
-15
40
60
0
-3
-9
-15
40
60
0
-3
-9
-15
40
60
0
-3
-9
-15
40
60
0
-3
-9
-15
40
60
0
-3
-9
-15
40
60
0
-3
-9
-15
40
60
0
-3
-9
-15
40
60
0
-3
-9
-15
40
60
0
-3
-9
-15
40
60
40
0
-3
40
0
-3
60
-9
60
-9
-15
3
11
13
30
40
0
-3
15
-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
Fine
CTRL
Command
C
1
2
8
16
60
-15
-21
-30
Default
ALT
12
14
-9
-15
-21
-30
Multi Select
SHIFT
4
6
9-16
Solo
Clear
SHIFT
10
20
+20/Clip
+15
-3
2
10
20
+20/Clip
30
9
0
7
+20/Clip
Close
Workstation
Application
1
Sel
0
10
Config
5
20
Cancel
Sel
0
10
User
A
Top
Back
Expnd
Page
In
Solo
0
C
Sel
EQ
Pan
E
Sel
Mixer
Comp
A
C
3
4
Mix to
Mons
SHIFT
Main control sections on the S3 control surface
A - Channel Section
The Channel section provides control of Input Channels, FX Returns, output channels and channel banking.
B - Channel Control
The Channel Control section provides control of processing functions and parameters for the currently selected input or output channel.
C - Global Controls
Global controls provide control of system-wide parameters. Modifier switches are also provided that modify the function of other controls.
Chapter 3: S3L System Control Overview 29
Channel Section
The Channel section provides 16 channel strips to control input and output channels. Each channel strip has a fader, an assignable channel encoder to control adjustable channel parameters, and a display to show channel and associated parameter information. Channels are
banked (assigned) to channel strips using the A–F and User bank switches, as well as the < Bank > and < Nudge > switches. Input and
output channels can be banked to channel strips.
Channel section
Channel Strips
Each channel strip provides a Solo and Mute switch, a 100mm
motorized touch-sensitive fader, a channel select (Sel) switch,
and a level meter. Each channel strip also features an assignable
channel encoder and display.
Solo The Solo switch toggles the solo state of that channel. The
switch is lit when that channel is soloed. When the channel is in
Solo Safe mode, the switch flashes. The Solo switch has momentary and latching capabilities (see “Using Solo” on page 131).
Mute The Mute switch mutes the channel at the (pre-fader) mute
point. The switch is lit when that channel is muted.
Fader The fader adjusts the level of the currently banked channel.
The Options > Interaction screen lets you enable touch-sensitive
channel selection. When enabled, touching a channel fader automatically selects that channel and makes it the selected channel.
Solo
Mute
12
6
Sel
0
A
Rec
5
10
20
+20/Clip
30
+15
+9
+3
0
-3
40
The faders can be moved even when they do not sense a touch.
This allows use of the faders while wearing gloves, and also
lets you “throw” a fader and have it stay where it lands (not
snap back to where it was last touched).
Sel The Channel Sel switch targets that channel for processing
using Channel Control, and for inclusion in Multi-Select and
Multi-Assign functions. The switch is lit when that channel is selected.
60
-9
-15
-21
See “Selecting and Targeting Channels” on page 44.
-30
Rec This switch has no function for VENUE software.
Channel strip
30
S3L System Guide
Level Meter A 10-segment meter shows input level for input
channels, and output level for output channels. Clipping at various points in the channel signal path is also indicated when the
top most LED lights red. The metering points for input and output
channels are selectable.
Channel Encoder Assignment Switches
The Channel Encoder Assignment switches assign channel parameters to the channel encoders.
For information on configuring meters, see “Meter” on
page 64.
Assignable Channel Encoders
Each channel strip features one assignable channel encoder for
control of parameters such as input gain, Aux send levels, and
pan/balance/width. Channel encoders are assigned functions using the Channel Encoder Assignment switches.
Input
Gain
HPF
EQ
Dyn
Insert
Comp
Pan
Mix
Pan
Aux
Flip
Channel
Flip
Group
Aux
Channel Encoder Assign switches
LR
EQ
DY
Ch 1
The text on the switches correspond to the parameters that can be
assigned to the channel encoders, as follows:
1
Pan
Gain This switch assigns control of input gain to the channel encoders. Head amp gain is available for analog inputs, and digital
gain is available for digital or line inputs. Gain level is indicated
in the channel display level indicator.
The channel encoder In switch toggles the Pad (-20 dB) for
that channel on/off. The switch is lit when the Pad is on.

Channel encoder, Sel and In switches, and display (Input Channel
shown)
Rotary and Switch Functions
Channel encoders are dual-function controls that provide rotary
and switch functions. Each channel encoder has a corresponding
select (Sel) switch and In switch. The function of the channel encoder and its corresponding switches depends on the parameter
assigned to the encoder.
Channel Displays
Level/Pan Indicator
When a parameter is assigned to an encoder, an indicator in the
display shows the relative setting of that control. When a corresponding encoder is touched and/or adjusted, the display shows a
numerical parameter value.
EQ
Ch 1
Gain
DY
1
 The channel encoder In switch toggles the built-in HPF for that
channel in/out. The switch is lit when the HPF is in.
Comp This switch assigns threshold control for the built-in Com-
pressor/Limiter to the channel encoders. This control is available
for input and output channels.
The channel encoder In switch toggles the Compressor/Limiter for that channel in/out. The switch is lit when the Comp/Lim
is in.

The channel display shows information for the currently banked
channel such as the channel number and/or name, the parameter
that is currently assigned to the channel encoder, and other useful
information depending on the type of channel banked and the parameter currently assigned to channel control.
LR
HPF This switch assigns control of the High Pass Filter (HPF)
corner frequency to the channel encoders. HPF corner frequency
is indicated in the channel display
LR
EQ
Ch 1
Pan This switch assigns control of channel pan if the channel is
mono, or stereo channel balance if the channel is stereo, to the
channel encoders. This control is available for input channels and
Group busses.
 For stereo channels, the channel encoder Sel switch assigns
width to the channel encoders.
1
Pan
DY
Channel display level indicator (left) and pan indicator (right)
Chapter 3: S3L System Control Overview 31
Aux This switch assigns control of Aux (and Variable Group)
Page > This switch assigns the next set of parameters to the chan-
send levels to the channel encoders.
nel encoders, where available. For example, when Aux 1 is assigned to the channel encoders, pressing this switch assigns Aux
2 to the channel encoders. The switch lights when there is a next
page to go to. When on the last page, pressing the switch does
nothing.
When the Aux switch is pressed, the Aux Select menu appears
across the 16 channel encoder displays. Pressing a channel encoder assigns the sends for the bus indicated in the corresponding
display to all 16 channel encoders.

The Page > Channel Navigation switch assigns the Aux sends
for the next bus to the channel encoders; pressing < Page assigns
the previous group of Aux sends.

 The channel encoder In switch toggles the Aux send on/off for
that particular channel. The switch is lit when the send is on.
The channel encoder Sel switch toggles that Aux send between pre- or post-fader for that particular channel. When the
switch is lit, the send is set to pre-fader.

For more information, see Chapter 10, “Auxes and Variable
Groups.”
Flip When the Flip switch is enabled, the current parameters assigned to the channel encoders are controlled using the faders
(flip to faders). The switch flashes when Flip is enabled, and a
vertical arrow appears in the channel displays.
If you bank to a different set of channels while parameters
are assigned to the channel encoders, those parameters remain on the channel encoders, and any adjustments to the
channel encoders apply to the currently banked channels.
Channel Encoder Navigation Switches
Use the Channel Encoder Navigation switches to navigate
through the available pages of parameters.
Fader Banking Controls
S3L provides controls for banking channels in layers and for
banking channels horizontally.
For more information, see “Banking Channels” on page 43.
Bank A–F and User Bank Switches
Use these switches to bank channels to channel strips in layers.
A
E
B
F
C
Multi
Assign
D
OK
User
Cancel
Bank A–F and User Bank switches
The following switches are provided:
A–D Bank switches A–D bank input channels to the channel strips
Top
Source
Back
as follows:
• A banks Input Channels 1–16
Page
Page
• B banks 17–32,
• C banks 33–48
Channel Navigation Switches
The following switches are provided:
• D banks 49–64 (or FX Returns 1–8 depending on your input
channel configuration).
Back/Top This switch displays the first screen of parameter con-
E This switch banks Aux outputs 1–16 to the channel strips.
trols for the currently assigned function.
F This switch banks Group/Variable Group outputs 1–8 to chan-
Source This switch shows the sources of the currently banked
nel strips 1–8, and Matrix outputs 1–8 to channel strips 9–16.
channels in the channel displays, and the source of the currently
selected channel in the Channel Control Display. For example, if
the source for a channel is Stage 1 Analog Input 3, S1A3 appears
in the channel display and (if selected) in Channel Control.
User This switch banks VCAs 1–8 to channel strips 1–8, and
Mains Left, C/Mono, and Right outputs to channel strips 13–16.
< Page This switch assigns the previous set of parameters to the
channel encoders, where available. The switch lights when there
is a previous set to go to. For example, when Aux 2 is assigned to
the channel encoders, pressing this switch assigns Aux 1 to the
channel encoders. When on the first page, pressing the switch
does nothing.
32
S3L System Guide
< Nudge > and < Bank > Switches
Multi-Assign, OK, and Cancel
These switches let you bank channels to Channel strips sequentially.
These switches let you enter, confirm, cancel and exit multi-assignment and multi-selection modes, and on-screen dialog boxes.
Mixer
Nudge
Nudge
Home
Bank
End
Bank
Close
A
E
B
F
C
Multi
Assign
D
OK
User
Cancel
< Nudge > and < Bank > switches
The following switches are provided:
< Nudge This switch moves channels one channel to the left. If
input channels 17–32 are banked, pressing this switch banks input channels 16–31.
Nudge > This switch moves channels one channel to the right. If
input channels 17–32 are banked, pressing this switch banks input channels 18–33.
< Bank/Home This switch moves channels one bank (16 channels) to the left. If input channels 17–32 are banked, pressing this
switch banks input channels 1–16.
Bank/End > This switch moves channels one bank (16 channels)
to the right. If input channels 17–32 are banked, pressing this
switch banks input channels 33–48.
Pressing SHIFT+Bank/Home or Bank./End > switches
provide the Home and End shortcuts. For more information, see “Using the Home and End Shortcuts” on page 44.
OK and Cancel switches
The following switches are provided:
Multi-Assign This switch enables Multi-Assign mode, letting you
quickly assign multiple input channels to a selected output bus.
See “Assigning Inputs to Matrix Busses” on page 76.
OK This switch confirms the current operation, such as confirming assignments made in Multi-Select mode.
Cancel This switch cancels the current operation, such as exiting
Multi-Select mode. Cancel also unlocks the system if it has been
locked (see “System Information Export” on page 58).
Chapter 3: S3L System Control Overview 33
Channel Control
Channel Control provides consistent control and display of channel processing functions such as EQ, dynamics, and Auxes for the currently selected input or output channel. Channel Control features eight encoders, each with a corresponding Select (Sel) switch, In
switch, display, and color-coded LED. Four Channel Control Navigation switches are provided for navigating through parameters. You
can also create a custom User set of controls.
For more information on using Channel Control, see Chapter 5, “Channel Control.”
Channel Control showing the main Channel Control menu
Channel Control Encoders
Channel Control features eight dual-function encoders that provide switch and rotary functions.
When the Channel Control main menu is shown in the Channel Control displays, pressing a Channel Control encoder assigns
the parameters for the function shown in the corresponding display to the eight Channel Control encoders.

When parameters are assigned to the encoders, rotating a
Channel Control encoder adjusts the individual parameter indicated in the corresponding display (such as EQ band gain or Aux
send level).

34
S3L System Guide
Each Channel Control encoder has a corresponding select (Sel)
switch and In switch, as follows:
Sel This switch assigns a secondary parameter to the corresponding Channel Control encoder, where available. For example,
when the EQ function is assigned to Channel Control, pressing
the Sel switch next to the Channel Control encoder controlling
frequency assigns Q (frequency bandwidth) to the encoder.
In This switch toggles an individual parameter on/off, where
available. For example, when the EQ function is assigned to
Channel Control, pressing the In switch for the Channel Control
encoder controlling EQ Lo band gain toggles that filter in/out.
The switch is lit when the parameter is enabled (in).
Channel Control Displays
Channel Control Navigation Switches
The Channel Control displays show the Channel Control main
menu. When a processing function is assigned to Channel Control, the displays show the available parameters. Each Channel
Control display also features a color-coded LED and a level/pan
indicator.
The Channel Control Navigation switches let you navigate
through the available pages of Channel Control parameters. A
function In (enable/bypass) switch is also provided, as well as a
shortcut for adjusting inserted plug-ins.
Channel Control LEDs
Each processing function has a unique color associated with it
that is displayed in the Channel Control LEDs. When a processing function is assigned to Channel Control, the assigned function
is also highlighted in that same color on-screen.
Top
Back
In
Page
Expnd
Page
Level/Pan Indicator
Channel Control Navigation switches
When a parameter is assigned to an encoder, an indicator in the
display shows the relative setting of that control. When a corresponding encoder is touched and/or adjusted, the display shows a
numerical parameter value.
The following switches are provided:
Back/Top This switch returns Channel Control to the Channel
Control main menu.
In This switch toggles an entire processing function (such as EQ
or Comp/Lim) in/out. The switch is lit when the function is enabled (in)
Page >/Expnd Depending on the processing function currently
assigned to Channel Control, this switch assigns either the next
page of a processing function’s parameters (if available) or the
set of parameters for the next available function. The switch is lit
when a next page is available.
< Page This switch either returns to the previous page of param-
eters for the currently assigned function (if applicable) or the set
of parameters for the previous function. The switch is lit when a
previous page is available.
Chapter 3: S3L System Control Overview 35
Global Controls
Global controls provide control of global parameters and functions such as control of output bus levels, Matrix input and output levels,
Monitor bus levels, screen navigation, and programmable events. Controls include eight Global Control encoders with associated
switches and displays, six View Mode switches, eight customizable Function switches, Monitoring switches, a Touch Strip, Global
Modifier switches, and two SHIFT switches.
Insert
Aux/Grp
Matrixes
VCAs
Monitors
Mains
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
Top
Back
Config
Expnd
Page
Page
View 1
View 2
Workstation
Application
1
3
5
7
9
11
13
15
2
4
6
8
10
12
14
16
9-16
Solo
Clear
Multi Select
SHIFT
SHIFT
Default
CTRL
Fine
ALT
Command
1
2
3
Mix to
Mons
SHIFT
4
Global Controls
Global Control Encoders
Global Control encoders are dual function controls that provide rotary and switch functions. Each encoder has a corresponding select
(Sel) switch and an In switch. The following functions can be controlled from the Global Control encoders and associated Navigation
switches:
• Mains output controls (see “Adjusting the Mains” on page 93)
• Monitor bus output levels (see “Adjusting Monitor/Headphone Level” on page 134)
• VCAs (see “VCAs” on page 97)
• Matrix mixers input and output controls (see Chapter 11, “Matrix Mixers.”)
• Aux/Variable Group output controls (see “Adjusting Aux/Variable Group Output Parameters” on page 111)
• Plug-in parameter control (see“Adjusting Plug-Ins” on page 173)
This section provides an overview of Global Control. For instructions on using specific Global Control functions, see the
chapters or sections referred to in the list above.
Insert
Aux/Grp
VCAs
Monitors
Mains
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
Global Control main menu
36
Matrixes
S3L System Guide
Top
Back
Config
Expnd
Page
Page
Global Control Navigation Switches
View Mode Switches
The Global Control Navigation switches let you navigate
through the available pages of Global Control parameters. A
switch for toggling system operating modes is also provided.
The View Mode switches provide navigation for the on-screen
software pages and tabs.
View 1
Top
Back
Config
Expnd
Page
Page
View 2
Global Control Navigation switches
The following switches are provided:
View Mode switches
Back/Top This switch returns Global Control to the Global Control main menu.
The following switches are provided:
When Matrix sends are assigned to Global Control, pressing and holding SHIFT+Back/Top displays the Global
Control main menu.
Config This switch toggles the system between its two main operating modes, Config mode and Show mode. See “Enabling Config Mode” on page 17.
Page > Depending on the function currently assigned to Channel
Control, this switch assigns either the next page of a function’s
parameters (if available) or the set of parameters for the next
available function. The switch is lit when a next page is available.
< Page This switch either returns to the previous page of parameters (if applicable) or the set of parameters for the previous function. The switch is lit when a previous page is available.
View 1 This switch displays the Inputs page, and is lit when the
page is active.
View 2 This switch displays the Outputs page, and is lit when the
page is active.
You can customize the View 1 and View 2 switches to display the pages of your choice. See “View Mode Switch 1
and 2 Assignments” on page 65.
View Up and Down (▲ and ▼)/ View Left and Right (◄ and ►)
These switches navigate between pages and tabs on-screen. See
“Viewing Page and Tabs” on page 40.
Application/Workstation Switch
This switch has no function for VENUE software.
Chapter 3: S3L System Control Overview 37
Function Switches
Monitoring Switches
The Function switches can be customized to control a wide range
of console parameters such as Mute Groups, snapshot recall, tap
tempo, and transport controls for Pro Tools and built-in 2-track
USB recording and playback. Eight Function switches are provided in two banks, providing 16 customizable functions. Actions
are assigned to the Function switches using events, available on
the Events tab (Options > Events).
The Monitoring switches provide controls for the VENUE Solo
and Monitor busses.
For more information, see Chapter 21, “Events.”
Solo
Clear
Mix to
Mons
Monitoring switches
The following switches are provided:
Solo Clear This switch clears all soloed channels.
1
3
5
7
9
11
13
15
2
4
6
8
10
12
14
Mix to Monitors This switch sends the Main mix signal to the
Monitor bus. When enabled (lit), the Main mix is present in the
Headphones (or other device connected to a hardware output assigned to the Monitor bus) whenever channels are not soloed.
Headphone Volume Control
The volume control for the Headphone output is located along the
right-front edge of the console. This signal for the Headphone
output is derived from the Monitor bus. Monitor bus controls are
provided on the Monitoring Global Control encoder.
16
9-16
Global modifier switches
The following switches are provided:
1–8/9–16 These switches trigger actions assigned on the Events
tab.
To trigger an event using a Function switch:

Press a Function switch 1–8 to trigger the action(s) assigned to
that switch.
9–16 This switch toggles the eight switches between Function
switch banks 1–8 and 9–16.
Headphone volume control
For more information, see “Using the Monitor Bus” on
page 133.
Touch Strip
The Touch Strip is a touch-sensitive control that you can customize to control a wide range of console parameters using events.
To toggle between Function switch banks 1–8 and 9–16:

Press the 9–16 switch. The Bank switch lights, and switches
F9–F16 are active.
1
2
3
4
Show Me This switch lets you see the event(s) on-screen that is
Touch Strip
assigned to a Function switch.
The Touch Strip has four “press zones” that can be assigned to
control four separate events (similar to the Function switches).
Pressing a Zone 1–4 triggers the event assigned to that zone.
Show Me Global Modifier switch
To see the event(s) assigned to a Function switch using the Show
Me switch:

38
Press the Show Me switch. The Events tab is displayed.
S3L System Guide
For more information on assigning events to the Touch Strip,
see Chapter 21, “Events.”.
Global Modifiers
To adjust a control with fine resolution:
The Global Modifier controls provide frequently used shortcuts
that can be applied to console actions and software screen interactions.
Multi Select
SHIFT
Default
CTRL
Fine
ALT

Press and hold the Fine switch while moving a control. The
display associated with the adjusted control will show the values change at the corresponding resolution.
To adjust a control with fine resolution using only the keyboard and mouse, Ctrl-click the on-screen control and adjust.
Command
Global Modifier switches
Momentary and Latching Modes
Multi-Select (Shift)
The Fine switch supports momentary and latching operation.
The Multi-Select switch lets you select multiple input channels
and then apply an action to all selected channels for batch routing
and assignment. For more information see “Selecting and Targeting Channels” on page 44.
Momentary In momentary mode, the Fine switch stays in effect
You can also use Multi-Select to select multiple consecutive
items in the Snapshots list, and in Media page Playlist and Library.
To Multi-Select using only the keyboard and a mouse, press
the Shift key on the keyboard and select the items
on-screen.
Default (CTRL)
for as long as you hold down that modifier switch.
Latching In latching mode, the Fine switch stays in effect until
you explicitly clear its active state.
To use the Fine switch in Momentary mode:
1
Press and hold the Fine switch.
2
Adjust a channel, parameter, or processor.
3
Release the Fine switch.
To use the Fine switch in latching mode:
1
Double-press the Fine switch. The switch LED lights.
The Default switch provides a quick way to reset a control to its
default setting (or “zero” the setting).
2
Select or adjust one or more channels, parameters, or processors.
Examples of Using Default
3
Press the Fine switch again to exit latching mode.
To reset a fader to 0 dB:
Command
1
Press and hold Default.
2
Press the channel Sel switch on the channel you want to reset.
To reset a single parameter in Channel Control:

Hold the Default switch and press the encoder for that parameter in the Channel Control section.
To reset a parameter using only the keyboard and mouse,
Alt-click the on-screen control.
This switch has no function for VENUE software.
SHIFT
Some switches have secondary functions, highlighted in gray
above the primary function (such as < Bank/Home, where Home
is the secondary function). To access these secondary functions,
use either of the two SHIFT switches located at the lower-left and
lower-right sides of the console surface. SHIFT can be locked on.
To reset all parameters of a processing function in Channel
Control:

SHIFT
Hold the Default switch and press the Channel Control Navigation In switch.
Fine (ALT)
The Fine switch lets you adjust controls (except for faders) on the
console or on-screen with maximum resolution. For example, if
by default a control adjusts a parameter in units of 1 dB, the Fine
switch allows adjustment in units of 0.1 dB.
You can also use Fine to select multiple non-consecutive items in
the Snapshots list, and in the Media page Playlist and Library.
SHIFT switch
To access the secondary function of a switch:

Press and hold either SHIFT switch, then press the desired
switch.
To lock/unlock SHIFT:

Press both SHIFT keys to simultaneously lock on SHIFT.

Press either SHIFT key to unlock.
Chapter 3: S3L System Control Overview 39
Software Screen Overview
The screen is not required in order to mix a performance, as all essential mixing controls are provided on the console. However, the
screen is essential when setting up and configuring the system before a performance. For more information, see Chapter 6, “Options.”
Viewing Page and Tabs
To view a page, do one of the following:

Press the View Left or View Right (◄ or ►) switch to cycle
through pages horizontally.
– 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 how VENUE targets channels to best match your
working style. For more information, see “Interaction” on
page 64.
Software Screen Banner Display
The screen provides a banner display in the lower left corner.
This display is provided to maintain line-of-sight mixing by
showing the currently adjusted parameter (such as fader level or
compression threshold) as you make changes to the parameter.
The banner display also provides Tool Tip text and status messages.
Clicking the page name to view a page
Tool Tips
To view a tab:
With the mouse or trackball, place the cursor over a screen item to
see a brief explanation in the banner display.

Press the View Down (▼) switch so it is lit, then press the View
Left or View Right (◄ or ►) switch to scroll through 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
The banner display alerts you to certain operating conditions such
as Multi-Select and Multi-Assign modes.
Banner display (left) and Mode display (right)
40
S3L System Guide
Clicking the tab name
Overview of Software Pages
Filing
The software screen provides the following pages and tabs.
Load, save, and transfer shows and presets, and access the console History.
Inputs
Select, name, configure, and adjust parameters for input channels
and FX Returns.
Filing page (History tab)
See Chapter 19, “Shows and File Management.”
Inputs page (analog input shown)
See Chapter 7, “Inputs and Input Routing.”
Snapshots
Store and recall snapshots, and access the Recall Safe window.
Outputs
Select, name, configure, and adjust parameters for outputs.
Snapshots page
See Chapter 20, “Snapshots.”
Outputs page
See Chapter 8, “Outputs and Output Routing.”
Chapter 3: S3L System Control Overview 41
Patchbay
Media
Patch input and output channels to hardware inputs and outputs,
and name channels.
Configure, control, and monitor 2-track USB recording and playback.
Patchbay page (Inputs tab shown)
Media page (Playback tab shown)
Options
See Chapter 12, “Patchbay.”
Plug-Ins
Configure and arrange plug-in racks; and assign, patch/route, and
manage plug-ins.
Configure system, routing and metering options, set interaction,
hardware and general preferences, install plug-ins, and access the
Events window.
Options page (System tab shown)
Plug-In page
See Chapter 6, “Options.”
See Chapter 17, “Plug-Ins.”
42
S3L System Guide
Chapter 4: Banking and Selecting Channels
Banking Channels
The S3L system provides channel banking controls to navigate to
channels beyond the number of available physical faders. Inputs
(Input Channels and FX Returns) and outputs (Auxes, Groups,
VCAs, Matrixes, and Mains) are banked using the A–F and User
bank switches, and the < Nudge > and < Bank > switches.
A
E
Banking Outputs
The E, F and User bank switches let you bank outputs to the channel strips. Channel names and numbers are indicated in the channel displays.
Outputs can also be accessed from the Global Control encoders. See “Selecting Outputs from Global Control” on
page 45.
To bank Aux outputs 1–8/9–16 to the channel strips:

B
Press bank switch E.
F
Channel strips 9–16 are blank if the system is configured
for eight Aux sends.
C
Multi
Assign
D
OK
To bank Group/Variable Group outputs 1–8 and Matrix outputs
1–8 to the channel strips:

User
• Groups 1–8 are banked to channel strips 1–8.
Cancel
• Matrixes 1–8 are banked to channel strips 9–16.
Bank switches
A stereo Group is controlled using a single fader.
Banking Inputs
The A-D bank switches let you bank Input Channels and FX Returns to the console channel strips in banks of 16 channels. Channel names and numbers are indicated in the channel displays.
To bank Input Channels 1–16 to the channel strips:

Press bank switch A.
To bank Input Channels 17–32 to the channel strips:

Press bank switch F.
To bank VCAs 1–8 to the channel strips:

Press the User bank switch. VCAs 1–8 are banked to channel
strips 1–8.
To bank the Main Left, Right, and C/Mono Mains faders to the
channel strips:

Press the User bank switch. Left, C/Mono, and Right Mains
faders are banked to channel strips 14, 15, and 16.
Press bank switch B.
To bank Input Channels 33–48 to the channel strips:

Press bank switch C.
To bank Input Channels 49–64 to the channel strips:

Press bank switch D.
Banking FX Returns
When your system is configured with 48 Input Channels plus
eight FX Returns, Bank switch D banks FX Returns 1–8 to the
Channel strips.
To bank FX Returns to the channel strips:

Press bank switch D. FX Returns 1–8 are banked to channel
strips 1–8.
Chapter 4: Banking and Selecting Channels 43
Banking with < Nudge > and < Bank >
Switches
Selecting and Targeting Channels
< Nudge > and < Bank > let you bank through channels horizon-
Selecting a channel targets that channel for processing in Channel
Control or on-screen, and for Multi-Assign/Multi-Select.
tally. You can also quickly return to the first bank or the last bank
using the Home and End shortcuts.
Mixer
Nudge
Nudge
Channels are selected as follows:
• Channels banked to channel strips on the console are selected using the channel strip Sel switches.
Close
• Channels can be selected by clicking their fader strips
on-screen.
Home
Bank
• Output channels can be selected from the Global Control
encoders using Global Control encoder Sel switches.
End
Bank
< Nudge > and < Bank > switches
• Multiple channels can be selected using Multi-Select.
To bank channels one channel to the right:
• Multiple channels can be assigned to outputs using
Multi-Assign.

Press the Nudge > switch.
Output busses, Matrix outputs, and VCAs can be selected
from the Global Control encoders. See “Selecting Outputs
from Global Control” on page 45.
To bank channels one channel to the left:

Press the < Nudge switch.
To bank channels one bank (16 channels) to the right:

Press the Bank > switch. The next set of 16 channels is banked
to the channel strips
To bank channels one bank (16 channels) to the left:

Press the < Bank switch. The previous set of 16 channels strips
is banked to the channel strips.
Selecting a Banked Channel
To select a channel from the channel strip:
1
Bank the desired channels to the channel strips.
2
Press the channel Sel switch next to the fader for the channel
you want to select.
6
Using the Home and End Shortcuts
Sel
Using either SHIFT switches on the S3 control surface in conjunction with the < Bank > switches provide the Home and End
banking shortcuts.
A
Rec
0
5
Channel strip Sel switch
To bank to the first set of channels for the currently banked
channel type:

When a channel is selected, its channel number/name is underlined in the channel display.
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.
LR
EQ
To bank the last set of channels for the currently banked channel
type:

Press SHIFT+Bank >/End. If input channels are banked, Input
Channels 49–64 (or FX Returns 1–8 depending on your configuration) are banked to the channel strips. If output channels
are banked, VCAs and Mains are banked.
DY
Ch 1
1
Thrshold
Channel display indicating the channel is selected
The currently selected channel is also shown in the first Channel
Control display at all times.
Ch 1
Top
Back
In
Page
Expnd
Page
User
1
Input
EQ
Channel Control display showing the currently selected channel
44
S3L System Guide
Selecting Channels On-Screen
To select the Aux and Groups/Variable Groups from the Global
Control encoders:
To select a channel on-screen
Click anywhere in the on-screen fader strip, except on the
fader, mute, solo or safe buttons.

1
Make sure the Global Control main menu is shown in the
Global Control displays.
2
Press the Aux/Grp Global Control encoder. Aux outputs 1–8
are assigned to the Global Control encoders.
Click to select channel
Aux/Grp
Clicking on-screen to select a channel
A channel can also be selected by touching the fader and/or
soloing the channel. See “Channel Selection” on page 64.
Selecting Outputs from Global Control
Mains, Auxes, Groups/ Variable Group, VCAs and Matrixes can
be selected from the Global Control encoders.
Sel
Sel
Sel
Sel
Sel
Sel
In
In
In
In
In
In
3
Press the encoder Sel switch under the display showing the
Aux output you want to select.
4
Do the following to access additional Aux and Group/Variable
Group outputs, depending on the current global Bus Configuration setting:
Make sure the Global Control main menu is shown in the
Global Control displays.
• Press the Page > Global Control Navigation switch to access Group outputs 1–8 or Aux outputs 9–16 on the Global
Control encoders.
Press the Back/Top Global Control Navigation switch to show
the Global Control main menu.
• Press Page > again to access Group or Variable Group outputs 1–8.
Press the Global Control encoder Sel switch under the display
showing Mains. Press the Sel switch again to select to select
the adjacent bus.
2
VCAs
Aux/Grp Global Control encoder
To select the Mains from the Global Control encoders:
1
Matrixes
See “Bus Configuration Settings” on page 58 for more information on the available bus configuration options.
To select VCAs from the Global Control encoders:
Monitors
Mains
Sel
Sel
Sel
Sel
In
In
In
In
Top
Back
Expnd
Page
1
Make sure the Global Control main menu is shown in the
Global Control encoder displays.
2
Press the encoder under the display showing VCAs. VCAs 1–8
are assigned to the eight Global Control encoders.
3
Press the encoder Sel switch under the display showing the
VCA you want to select.
Config
Page
Mains Global Control encoder Sel switch
To select a Matrix Mixer for processing:
On-screen, the fader strip of the selected bus is highlighted blue.
1
Make sure the Global Control menu is shown in the Global
Control displays.
2
Press the Matrixes Global Control encoder. Matrix outputs 1–8
are assigned to the Global Control encoders.
3
Press the Global Control encoder Sel switch under the display
showing the Matrix output you want to select.
Mains Global Control encoder Sel switch
Chapter 4: Banking and Selecting Channels 45
Selecting Multiple Channels
(Multi-Select)
Screen Controls
Multi-Select lets you select multiple channels in order to apply an
action to them in one step, such as turning Aux sends on or off for
multiple channels.
Adjusting On-Screen Faders
You can move on-screen faders independently or in ganged fashion.
To select multiple channels from the console:
1
2
Press and hold the Multi-Select switch (located on the bottom
left of the console).
To adjust a single fader on-screen, do one of the following:

Press the channel strip Sel switch on each channel you want to
include in the selection.
3
Release the Multi-Select switch. The flashing Multi-Select,
OK and Cancel switches, and the banner display at the lower
left of the screen flash to indicate Multi–Select mode is enabled.
4
Perform a routing assignment or other function (for example,
press a Bus Assign switch on one of the included channels).
The operation is applied to all selected channels.
Drag a fader in the on-screen channel strip section at the bottom of the screen.
– or –

Select a channel and move its fader in the on-screen selected
channel controls.
Fader in
selected channel
section
You can also use the Shift key on the keyboard to select multiple channels.
Fader in
channel strip section
To exit Multi-Select mode, do one of the following:

Press the Multi-Select switch.
Dragging a fader on-screen
– or –

To move multiple faders on-screen in ganged fashion:
Press the Cancel switch.
To select multiple channels on-screen:

Press and hold the Multi-Select switch (or hold Shift on the
keyboard) and click the fader strips on-screen.
To select an 8-channel bank on-screen:

Click the bank name (such as 1–8 or Aux 1–8) below the
on-screen fader strips. Shift-click to select additional banks or
channels.
1
Select multiple channels on-screen by Shift-clicking.
2
Move the fader on one of the selected channels.
The faders on the selected channels will move in ganged fashion.
Any offset between the faders is maintained until at least one of
the faders is minimized (moved to –INF) or maximized (set to
+12 dB).
Click to select
banks of 8
Clicking a bank display to select multiple channels on-screen
To select all input channels or all output channels on-screen:

Double-click any bank name below the on-screen fader strips
in the Input or Outputs screen.
To remove a channel from a selection:

Control-click (or Fine-click) a highlighted channel.
You can assign multiple input channels to an Aux, Group, or
VCA using Multi-Assign. See “Assigning Inputs to Matrix
Busses” on page 76.
46
S3L System Guide
Selected
channels
Dragging multiple faders on-screen
Adjusting On-Screen Encoders
Reset Fader to 0
You can adjust on-screen rotary encoders by dragging directly
over the on-screen knob.
Resets the fader position to zero.
To adjust an on-screen encoder:
1
Click on the encoder so that it is highlighted.
2
Drag up to turn the encoder clockwise; drag down to turn the
encoder counter-clockwise.
Reset Selected Input Strips
Resets every parameter on the selected channel(s) to default settings.
Copy and Paste Channel
Channel settings can be copied in their entirety from one channel
and pasted to one or more channels from the console or
on-screen. Using the Events list, Copy and Paste can be assigned
to any Function switch on the console. For more information, see
Chapter 21, “Events.”
You can also store and load settings as Input Channel Presets. For information, see “Input Channel Presets” on
page 84.
Dragging over an encoder on-screen
Adjusting Values On-Screen
In addition to typing numeric values in text boxes, you can adjust
parameter values and numeric option settings on-screen by dragging directly over the corresponding text box.
To copy and paste channel settings on-screen:
1
• Right-click on a channel fader in the fader display across
the lower half of the screen and choose Copy.
To adjust a value on-screen by dragging:
1
Click in the text box to select the value.
2
Drag up to increase the value; drag down to decrease the value.
Do one of the following:
– or –
• Right-click within the upper channel display and choose
Copy.
Copying channel settings
Adjusting a parameter value by dragging over its text box
You do not need to select the channel before copying its settings on-screen.
Screen Shortcuts
The on-screen Fader display provides the following right-click
shortcuts.
2
Select one or more destination channels. You can only paste to
selected channels.
3
Right-click on the lower fader strip on-screen, or on any
non-control area of the destination channel, and choose Paste
to Selected Strip(s). The status displays shows a message confirming the Paste operation.
Right-clicking a fader on-screen
See also “Fader and Encoder Shortcuts” on page 50.
Chapter 4: Banking and Selecting Channels 47
Parameters and Channel Types
Input channels can only be copied or pasted to other Input channels. Output channels can only be copied or pasted to other channels of the same type (such as Aux, Group, or Matrix). When
pasting channel settings:
• Settings common to the source and destination channel are
always pasted.
• Copied settings with no corresponding parameter in the
destination channel are ignored.
• Settings in the destination channel with no corresponding
parameters are left unchanged.
Copying and Pasting Mono and Stereo Channel
Settings
Make Selected Mono Strips Stereo/Make
Selected Stereo Strip Mono
Combines two selected mono channels into a single stereo channel, or splits a selected stereo channel into two mono channels.
VENUE must be in Config mode to change the stereo status of a
channel.
Move Selected Strip
Moves a selected Channel strip from its current position to a new
location. When you move a Channel strip, other channels are
moved (and renumbered) lower or higher to accommodate the
moved channel.
VENUE must be in Config mode to move channel strips.
You can copy a mono channel and paste its settings to one or
more stereo channels. Mono settings are applied equally to the
left and right channels of the stereo destination. The stereo destination channel retains its current balance and width settings.
To move a Channel strip:
You can also copy a stereo channel and paste its settings to one or
more mono channels. The left channel settings of the stereo
source are applied to the mono channel(s). The mono destination
channel retains its current pan setting.
Settings Excluded from Copy and Paste
Input Channels The following Input channel parameters are not
copied or pasted (the current settings of the destination channels
are retained):
• Patchbay assignments, including Direct Outs
• Channel Name
• Hardware and software insert (plug-ins) assignments and
in/out state.
Output Channels The following Output channel parameters are
not copied or pasted (the current settings of the destination channels are retained):
• Patchbay assignments, including Direct Outs
• Channel Name
• Hardware and software insert (plug-in) assignments and
in/out status
• GEQ settings
• Output membership (the assignment of channels to an Aux,
Group VCA, Matrix or PQ).
1
Put the system in Config mode.
2
Select the channel you want to move.
3
On-screen, right-click on the destination strip (where you want
to move the selected channel).
4
Choose Move Selected Strip Here from the pop-up menu. The
channel strip is moved before the destination strip.
Snapshots cannot store and recall custom console channel
positions.
You can also drag and drop channels. See “Reordering Input Channels Using Drag and Drop” on page 73.
Insert Blank Strip
The Insert Blank Strip command lets you insert one or more blank
(or “spacer”) strips anywhere among your input channels. In addition, blank strips are automatically inserted when you use the
Make Stereo command to convert two mono input channels into
a single stereo channel, preserving the channel layout.
Blank strips are strictly placeholders (no audio or any type or processing take place), and therefore consume no additional processing overhead or DSP resources.
Use blank strips to create obvious divisions between groups of instruments, or to optimize the bank placement of inputs on the
console.
Blank strips are saved and loaded as part of the Show file.
To copy GEQ settings, use the copy/paste GEQ shortcut or
use GEQ Presets. Use the Replace with Mix (members) From
command to replace output membership for an Aux, Group,
VCA, Matrix or PQ.
48
S3L System Guide
Blank Strips on the Console
A blank strip has no LCD channel name display, and all of its
physical controls and indicators are inactive. Blank strip faders
are set to the bottom (–inf) position and always revert to this position if moved.
Blank Strips On-Screen
Automatically Inserting Blank Strips using Make Stereo
Blank strips appear as a simple gray strip with no fader, buttons or
meter. A blank strip can be right-clicked to reveal its context
menu.
VENUE automatically creates blank strips when you use the
Make Stereo command in order to preserve the current channel
layout. Similarly, blank strips may be automatically removed
when you use the Split Stereo command to revert a stereo strip to
its two contributing mono channels.
Make Stereo A blank strip is automatically inserted at the location previously occupied by the right-side channel of the
newly-formed stereo pair. There is no shuffling of the remaining
input channels as a result of this operation.
Split Stereo The behavior when splitting a stereo strip into two
mono strips is as follows:
• If a blank strip is located immediately adjacent to the (previously) stereo channel, the right channel of the stereo pair
occupies this position and the blank strip is automatically
removed. No other channels shuffle.
Blank strip in position 16, Right-click menu shown
Adding Blank Strips
Blank strips can be inserted manually, and are also created automatically when you use the Make Stereo command. You can also
insert multiple blank strips.
• If no blank strip is located immediately adjacent to the (previously) stereo channel, all channels to the right of the split
point shuffle one position to the right and the right channel
of the stereo pair is inserted.
Manually Inserting Blank Strips
Config mode must be enabled to add or remove blanks strips.
To manually add a blank strip:
1
Enable Config mode.
2
Right-click an input channel strip (or a blank strip) at the location where you want to insert a blank strip and choose Insert
Blank Strip. For example, if you want to have a blank strip at
channel strip 16, right-click on channel 16.
All channels to the right of the insertion point (including the
right-clicked channel) are shuffled one position to the right.
This command will be unavailable if the combined number of
input channel strips plus blank strips equals or exceeds 64.
For more information, see “Limits and Guidelines for Blank
Strips” on page 49.
To insert multiple blank strips:
1
Enable Config mode.
2
Create a multi-selection of channels.
3
Right-click on one of the selected channels and choose Insert
Removing Blank Strips
To remove a blank strip:

Right-click the blank strip you wish to remove and choose Remove Blank Strip.
To remove all blank strips:

Right-click any blank strip and choose Remove All Blank
Strips. Blank strips are removed and all channels to the right
are shuffled one position to the left.
Limits and Guidelines for Blank Strips
The maximum number of fader strips is 64. These 64 positions
can be comprised of any combination of mono or stereo Input
Channels, FX Returns, as well as blank strips.
The maximum number of blank strips that can be used varies depending on the current system configuration and the number of
stereo channels used in the configuration. This number can be
calculated as:
64 - (the number of Input Channels - number of stereo inputs +
FX Returns) = maximum number of blank strips
Blank Strips at Selection.
For example:
A blank strip is inserted in place of each selected channel strip,
shifting all channels accordingly and maintaining the multi-selection.
• A 64 channel configuration with 64 mono Input Channels
can have no blank strips.
• A 48 channel configuration with 48 mono Input Channels
and 8 FX Returns can have 8 blank strips. [64-(48-0+8) = 8]
• A 48 channel configuration with 4 stereo channels can have
12 blank strips. [64-(48-4+8) = 12]
Chapter 4: Banking and Selecting Channels 49
Fader and Encoder Shortcuts
The on-screen channel faders and encoders provide the following
right-click shortcuts to reset individual parameters and channel
strips.
Type Text Search
Type Text search lets you use the keyboard for fast navigation to
a channel, or to quickly go to a specific snapshot or event. You
can enter the first characters of a channel name or the absolute
channel number to target that channel on-screen or in Channel
Control (see also “Selecting and Targeting Channels” on
page 44.)
To search for and select a channel by name:
Right-clicking channel strip controls on-screen
Reset Parameter
1
Go to the Inputs, Outputs, or Patchbay page.
2
Type the first few letters, channel number, or full name of the
channel. For example, type “s” to go to the first channel beginning with the letter s (such as Snare).
3
Press the Tab key on your keyboard to cycle through and select
any other channels beginning with that letter (such as Snare
Top, Snare Bottom, or Strings).
To reset an on-screen fader or encoder to its default value, do one
of the following:

Right-click the control and choose Reset.
– or –

Alt-click the control.
To search for and select a list item by name (or number):
Reset Channel
1
Go to the Snapshots page, Filing page, or the Events tab of the
Options page. Or, click to open any Presets window (built-in
Dynamics or EQ presets, Input Channel presets, or Scope
Sets).
2
Type the first few letters or number of the desired item.
3
Press the Tab key on your keyboard to cycle through and select
any other items that begin with the same letters.
To reset an entire channel strip to its default settings:

Right-click the on-screen channel fader and choose Reset
Strip.
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:

50
S3L System Guide
Type a number on the keyboard to select the corresponding
channel.
Chapter 5: Channel Control
Channel Control provides consistent control and display of processing functions for the currently selected input or output channel.
Ch 1
Top
Back
In
Page
Expnd
Page
1
User
Input
EQ
CompLim
ExpGate
Aux 1-8
Aux 9-16
Var Grps
The Channel Control main menu
The following processing functions can be assigned to and controlled from Channel Control, and are shown in the Channel Control main
menu:
• Input/output controls such as input gain, pad, pan/width/balance, polarity invert, and direct out level (input channels and output
busses)
• EQ (input and output channels)
• Compressor/Limiter (input and output channels)
• Expander/Gate (input and output channels)
• Aux and Variable Group sends (input channels only)
• Plug-Ins (EQ, Comp/Lim, and Exp/Gate plug-ins on input and output channels)
Channel Control also lets you create a custom User set of controls for immediate access to up to 16 parameters.
Channel Control operations for inputs, EQ and dynamics processing, plug-ins, and Aux sends are detailed in the relevant sections of
this guide. The rest of this chapter shows you the basics of Channel Control, as well as how to create and manage the custom User assignment.
Chapter 5: Channel Control 51
4
Using Channel Control
• Rotate the Channel Control encoder under the display
showing the parameter you want to adjust. For example, to
adjust the gain for the low band of a channel EQ, rotate the
encoder under the display showing Lo Gain.
Using Channel Control is as simple as selecting a channel, assigning a processing function to Channel Control, and adjusting the
available parameters.
To start using Channel Control:
1
Ch 1
In
Page
Expnd
Page
1
Ch 1
Make sure the Channel Control main menu is shown in the
Channel Control displays. If necessary, press the Back/Top
Channel Control Navigation switch to return to the Channel
Control main menu.
Top
Back
Do any of the following to adjust parameters:
Lo Gain
Lo Freq
1
User
Input
EQ
Channel Control display showing the Lo band EQ parameter
• Press a Channel Control encoder Sel switch to adjust a secondary parameter using that encoder, where available. For
example, to adjust the Q (bandwidth) of the low band of a
channel EQ, press the encoder Sel switch under the display
showing Lo Freq, and rotate the encoder.
Back/Top Channel Control Navigation switch
2
Select a channel to target it for processing in Channel Control.
3
In the Channel Control section, press the Channel Control encoder under the display showing the function you want to adjust. For example, to adjust a built-in channel EQ, press the
encoder under the display showing EQ.
• Press a Channel Control encoder to enable a secondary parameter, where available.
To bypass an individual parameter (toggle in/out):

Press an encoder In switch to toggle an individual parameter
in/out (such as toggling an individual EQ band in/out).
• When lit, the parameter is in (enabled).
EQ
CompLim
ExpGate
• When unlit, the parameter is out (bypassed).
Aux 1
Lo Gain
Channel Control encoders
The parameters for that processing function appear in the Channel Control displays.
Lo frequency band enabled (lit Channel Control encoder In switch)
To reset an individual parameter to its default setting:

Press and hold Default and press the Channel Control encoder
for the parameter you want to reset (such as resetting the
Comp/Lim threshold to 0 dB).
Multi Select
SHIFT
Default switch
52
S3L System Guide
Default
CTRL
Fine
ALT
Command
To enable or bypass an entire EQ, Comp/Limp, or Exp/Gate
function (toggle in/out), do either of the following:

When the main Channel Control menu is shown, press the
Channel Control encoder In switch under the display showing
EQ, Comp/Lim, or Exp/Gate. The switch is lit when the processor is enabled (in).
EQ
Input
CompLim
ExpGate
Channel Control LEDs
Each processing function has a unique color associated with it
that is displayed in the Channel Control LEDs. When a processing function is assigned to Channel Control, the assigned function
is also highlighted in that same color on-screen. For example,
when EQ is assigned to Channel Control, the eight console Channel Control LEDs are lit green and the on-screen EQ section for
the selected channel has a matching green background.
Aux 1-
Ch 1
1
Lo Gain
Channel Control encoder In switch

When a function is assigned to Channel Control, press the
Channel Control Navigation In switch. The switch is lit when
the processor is enabled (in).
Top
Back
In
Page
Expnd
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,
then press the Channel Control encoder In switch below the
display showing the function you want to reset (such as resetting all EQ settings, including setting all EQ band Gains to
0 dB).
Channel Control display showing an EQ parameter with a green LED
(left) and the on-screen EQ section highlighted in green (right)
Channel Control LEDs and matching background colors are
listed in the following table:
Channel Control Functions and Corresponding LED Colors
To access additional parameters or the parameters for the next
available function:

Press the Page > Channel Control Navigation switch.
To return to the main Channel Control menu:

Press the Back/Top Channel Control Navigation switch so
that the main Channel Control menu (such as User, Input, or
EQ) appears in the Channel Control displays.
Function
Color
User
Red
Input
White
EQ
Green
Comp/Lim
Blue
Exp/Gate
Yellow
Aux Sends 1-8
Pink
Aux Sends 9-16
Turquoise (blue/green)
Variable Groups 1–8
Purple
Chapter 5: Channel Control 53
Assigning Functions to Channel
Control
See the following sections for information on assigning and adjusting processing functions using Channel Control:
To create a custom User assignment in User Assignment mode:
1
Right-click any available encoder.
2
Select Enter User Assignment mode from the menu.
3
Click an on-screen encoder to assign control of the parameter
to Channel Control encoder 1.
4
Assign any other desired parameters. Subsequent parameters
are assigned to consecutive Channel Control encoders.
Input Parameters See “Adjusting Input Parameters” on page 77.
Some input parameters can also be adjusted from the assignable channel encoders.
EQ See “Adjusting EQ” on page 153.
Comp/Lim See “Adjusting the Built-In Comp/Lim” on page 144.
To clear a User assignment on-screen:
1
On-screen, right-click a parameter.
2
Choose Clear <parameter name> from the Channel Control
sub-menu.
Exp/Gate See “Adjusting the Built-In Exp/Gate” on page 145.
EQ, Comp/Lim, and Exp/Gate Plug-Ins You can toggle between
controlling built-in processing or a like (equivalent) plug-in inserted on the channel. See “Adjusting Inserted Dynamics and EQ
Plug-Ins” on page 173.
Aux and Variable Group Sends See “Adjusting Sends Using
To clear all User assignments:
1
On-screen, right-click a parameter.
2
Choose Clear All Assignments.
3
Click Clear to confirm and clear all; click Cancel to cancel and
leave the User assignment unchanged.
Channel Control” on page 109.
User Assignment
You can mix and match parameters from different function types
and save it as a single Channel Control User assignment. The
User assignment is stored with each Show file.
Creating a User Assignment
Custom User assignments are made on-screen, either individually
or in User Assignment mode.
To create a custom User assignment:
1
2
Right-click any available encoder.
Select a Channel Control encoder (1-16) from the Channel
Control menu.
Assigning a parameter to Channel Control on-screen
54
S3L System Guide
Accessing the User Assignment
To access User assignment:
1
Select one or more channels.
2
Press the Channel Control encoder under the display showing
User. Assignments made to Channel Control encoders 9–16
are accessed on the second page of the User Channel Control
parameters.
Availability of Channel Control Functions
The functions available on Channel Control depend on the type of channel currently selected, as shown in Table 1. Functions are listed
across the top row, and channel types are listed in the left column.
Table 1. Channel Types and Available Functions
Input
Channel EQ
Comp/Lim
Exp/Gate
Aux 1-8
Aux 9-16
Variable
Groups
Input Channels
Yes
Yes 1
Yes 1
Yes 1
Yes
Yes
Yes
FX Returns
Yes
Yes 1
Yes 1
Yes 1
Yes
Yes
Yes
Main L–R, C/M
Yes 3
Yes 1
Yes 1
n/a
n/a
n/a
n/a
Groups
Yes 3
Yes 1
Yes 1
n/a
n/a
n/a
n/a
Aux Sends 1-16,
Variable Groups 1–8
Yes 3
Yes 1
Yes 1
n/a
n/a
n/a
n/a
Matrixes
Yes 3
Yes 1
Yes 1
n/a
n/a
n/a
n/a
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
3 Processing available, but not all parameters are available due
to the type of bus/channel.
Chapter 5: Channel Control 55
Chapter 6: Options
The Options page provides several tabs. Of these, the System and
Devices tabs are where most system configuration settings and
options are enabled and customized:
• The System tab provides the primary tools by which you
configure mixing, routing, and processing options.
• The Devices tab provides status, diagnostics, and options
for hardware components.
This chapter shows you how to manage the most important System and Devices settings, and describes the settings available in
other Options screens.
Overview of Options
System
(System Configuration)
From the System tab you can configure input channels, configure
Mains and Aux/Group busses, reset the system, shut down your
system, lock the system, and get system info.
Basics of Editing System Settings
Settings available in the System tab can only be edited while in
Config mode.
• “System” on page 57
In Config mode, the Edit button becomes available to let you
change settings. When a System Config setting is changed, the
Apply button becomes available at the right of the screen to let
you confirm and apply changes.
• “Busses” on page 60
Changing system settings may restart and/or interrupt audio.
The Options page provides the following tabs:
• “Pickoffs” on page 61
• “Snapshots” on page 62
• “Misc” on page 63
In Show mode, the Edit button is unavailable. This protects these
settings from being changed during a performance (since changes
to these settings can interrupt audio).
• “Interaction” on page 64
• “Devices” on page 66
To change a system configuration option:
• “Events” on page 67
3
Put the system in Config mode.
• Plug-Ins (see “Installing and Authorizing Plug-Ins” on
page 161)
4
Go to the Options page and click the System tab.
5
Click Edit.
Edit button on the Options > System page
6
Change a System Config, Main Bus, Inputs or Bus Configuration option.
Click the Cancel button to return to the previous setting.
7
Click Apply to confirm and apply your new settings.
Apply button on the Options > System page
8
Return to Show mode when you are finished editing settings.
Chapter 6: Options 57
System Configuration Settings
Main Busses
In Show mode, the System Configuration section is display-only,
showing the current allocation of system resources and bus settings.
The Main Busses settings let you choose the overall configuration
for the Main busses.
In Config mode, you can edit system settings such as input channel configuration, bus configurations, and hardware I/O configurations.
Audio is interrupted when a System Configuration setting is
applied. Do not change these settings during a performance.
System configuration settings are stored with Show files. See
“System Configurations and Loading Shows” on page 183
for more information.
Input Channel Settings
You can choose one of the following input channel configurations:
• 48 Input Channels plus eight stereo FX Returns
• 64 Input Channels
For instructions, see “Configuring the Main Busses” on
page 88.
Bus Configuration Settings
The Bus Configuration Settings let you choose the overall Aux
and Group bus configuration.
For instructions, see “Configuring Aux and Group Busses”
on page 88.
System Information Export
Info Button
The System Information Export feature lets you generate an
HTML (text) document that details system hardware, software
and currently loaded Show file configurations. This document
can be read by any Internet browser, such as Internet Explorer,
Mozilla Firefox, Safari, or Chrome.
For instructions, see See “Setting the Input Channel Configuration” on page 72..
FX Returns
The number of available stereo FX Returns are indicated here.
When your system is configured for 48 input channels, eight stereo FX Returns are available. When configured for 64 channels,
no FX Returns are available.
In the 64-channel configuration, plug-in outputs can be returned to Input Channels. See “Routing a Plug-In as a Bus
Processor” on page 172.
Graphic EQs
The number of Graphic EQs available (16) is pre-configured, and
cannot be changed.
The patch list can also be exported separately (for more information, see “Patch List Export” on page 126).
The System Information document can be sent directly to production or rental companies to describe your exact system needs; alternately, the information can be re-formatted as desired by copying and pasting the data into a word processing or spreadsheet
application.
To export VENUE System Information:
1
Insert a USB storage device into any available USB port on the
E3 engine.
2
Go to Options > System.
3
Click the Info button.
DSPs Available for Plug-Ins
The amount of DSP available for plug-ins is pre-configured, and
cannot be changed.
Input Channel Source Settings
The options in this section let you globally choose between using
Stage inputs or Pro Tools inputs as the source for your S3L system input channels.
See Chapter 25, “Pro Tools Recording and Playback” for
more information.
58
S3L System Guide
Export VENUE System Information button in Options > System
4
5
Do any of the following:
System Lock
• If you have more than one USB storage device connected,
make sure the correct USB device is selected. If it is not,
click Next Disk to cycle through each available disk until
the correct one is selected.
System Lock is activated by clicking the LOCK button on the Options > System page, which locks the S3 control surface and hides
the on-screen controls. (System Lock is not available in the
Standalone software.)
• Click Save to proceed and export system info to the selected
USB disk.
To engage System Lock:
• Click Cancel to dismiss the dialog without exporting.
1
Go to Option > Systems.
Click OK to confirm the export procedure.
2
Click the Lock button in the System section.
You can now remove the USB device —from there, you can
transfer the exported file to a personal computer for printing, formatting, archiving or distribution.
System Lock button.
Standalone Software
When exporting System Info from the Standalone software, the
exported System Information file is displayed immediately using
the default browser installed on your computer.
3
On-screen, an Unlock button appears in the lower right corner in
front of a dimmed background image.
You can add your own custom images to display in place of
the default VENUE logo. See “Customizing the System Lock
Display” on page 60 for information.
VENUE System Information Contents
Exported VENUE System Information is saved as an HTML file,
and the file name includes the date and time of the export. Contents include the following (not all data will be generated from the
Standalone software):
In the dialog that appears, click Lock.
To unlock the system (disengage System Lock):

Do either of the following:
Avid VENUE
• Press and hold the Cancel switch on the S3 control surface
for two seconds.
System Information Lists the date and time the Info file was gen-
– or –
erated.
E3 Engine Configuration Lists the current hardware configura-
tion of the E3 engine.
System Software Lists the software version, ECx version, Ether-
• Click Unlock in the lower right corner of the screen.
The Unlock button is hidden after a few seconds. Touch the
mouse or keyboard to bring it back.
net configuration, and the current IP address of the E3 engine.
System Status while Locked
Stage Configuration Lists the state of the four Stage slots.
GPI All system GPI inputs and outputs are disabled while the system is locked.
Installed Plug-Ins Lists version and other information (as reported by each plug-in) for all currently installed plug-ins. The
list groups plug-ins by whether they are Enabled or Disabled. Enabled and In Use plug-ins appear at the top, followed by any remaining enabled (but not In Use) plug-ins. A link for plug-in updates is also provided.
Footswitches All Footswitch inputs are disabled while the sys-
tem is locked.
Events All Event triggers and actions are disabled while the sys-
tem is locked.
Show File Information Lists the name, file path, date and time of
the most recently loaded Show file.
System Configuration Lists information found on the Options >
System page.
DSP Usage Lists the processes assigned to each DSP of each Mix
Engine card. Information is sub-divided by Mix Engine as displayed in the Engine section on the Options > Devices page.
Patch List Lists the contents of each Patchbay page. A complete
patch list is included in the System Information Export, or a detailed patch list can be exported separately from the Patchbay (see
next).
Chapter 6: Options 59
MIDI and MTC
Troubleshooting
While the system is locked:
This section provides the following troubleshooting options:
• Snapshots continue to be recalled via MTC, either internally or externally generated.
Clear Console
• The system continues to respond to snapshot changes via
incoming MIDI program change commands if the Snapshots Respond option is selected on the Options > Snapshots page.
The Clear Console button resets all parameters on all channels to
their factory default settings.
• The system continues to send MIDI program changes when
a snapshot is recalled if the Snapshots Send option is selected on the Options > Snapshots page.
System Test is hardware diagnostics software for the S3L system.
Only use System Test at the request of a qualified VENUE technician to diagnose specific hardware problems.
System Test
• The system continues to send MIDI messages stored within
snapshots, provided the MIDI data type is scoped.
MTC can be disabled using the CHASE MTC button on the
Snapshots page. Also, the sending and receiving of MIDI data
can be turned off by deselecting the MIDI options on the
Options > Snapshots page.
Busses
The Busses tab lets you customize characteristics for the Aux,
Solo, Matrix, and Main busses.
Customizing the System Lock Display
You can manually add one or more custom images to display
during System Lock, rather than the default VENUE logo background.
Multiple images are displayed one 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:
1
Copy a BMP or JPG image file to a USB storage device. (For
optimal results image resolution should be 1024 x 768; smaller
or larger images can be used, but will be centered or scaled, respectively.)
Busses tab of the Options tab
2
Put the system into Config mode.
3
Go to Options > System.
4
Ctrl-click the Quit button.
5
Copy the image from your USB storage device to the following location on the system drive:
User Data(D):\D-Show\Images
Links When enabled, this option links the corresponding busses
Double-click the Return to VENUE software icon on the Desktop to restart VENUE software.
Pickoff These options let you designate the pre-fader pickoff
6
Update
The Update button is used to perform software updates on your
system. Updates performed using the Update button are distinct
from system restores and system updates using the System Restore software.
60
S3L System Guide
Auxiliaries and Variable Groups
These options let you designate bus link status, pickoff point, and
stereo pan behavior for Auxiliaries (Aux/Variable Group busses).
into bus pairs. Control changes affect both mono Aux busses, and
the Follows Channel Pan option becomes available.
point feeding each bus. Choices include Pre-EQ, Pre-EQ Post
Mute, Pre-Mute, and Pre-Fader (post-mute).
For more information on Aux/Variable Group pre-fader pickoff points, see Chapter 10, “Auxes and Variable Groups.”
Follows Channel Pan Each channel can be panned inde-
pendently within each linked bus pair, or configured to follow the
channel pan by enabling the Follows Channel Pan option.
Solo and Monitor Operations
These settings customize Solo and Monitor bus mode and operation.
Pickoffs
The Pickoffs tab lets you control the bus pickoff point on input
strips, as well as specify source and insert points for output busses. The Pickoffs tab also provides master control for Delay Compensation.
Solo controls on the Options > Busses tab
To configure Solo settings on-screen:
1
Go to the Options page and click the Busses tab.
2
Configure settings as needed:
For more information, see “Configuring Solo and Monitor
Options” on page 130
Matrixes
The Matrixes section lets you link and unlink Matrix to form stereo Matrix busses.
Links When enabled, these options link corresponding mono Ma-
trix busses into stereo-linked pairs. Control changes then affect
both mono Matrix busses.
For more information on these features see Chapter 11, “Matrix Mixers.”
Panning
The Panning section provides control over center channel divergence when the Main Bus is set to L–C–R mode, and Stereo
Group Mode settings.
Center Divergence
Pickoffs tab of the Options page
Delay Compensation
Three settings for Delay Compensation are provided, as follows:
Off No Delay Compensation is applied.
Mix Only VENUE automatically compensates for delays incurred
by the use of Groups routed to the Main busses.
Mix and Inserts VENUE automatically compensates for delays
incurred by the use of plug-ins as well as those incurred by the use
of Groups routed to the Main busses.
Delay Compensation can be set in either Show or Config
mode.
Throughout this guide, other Pickoff options are explained where
relevant.
When the Main busses are set to L–C–R (Left-Center-Right)
mode, the Center Divergence setting determines amount of center-panned signal sent to the center output.
To set Center Divergence:

Enter a value or drag in the Center Divergence text box and
press Enter.
For more informations, see “Mains Center Divergence Options” on page 94.
Chapter 6: Options 61
Snapshots
The Snapshots tab provides several snapshot preference settings
to optimize snapshot operation.
For more information on using snapshots, see Chapter 20,
“Snapshots.”
Aux Mon and Aux FX
These settings let you classify individual Aux Sends (including
linked bus pairs) as monitor sends (“Mon”) or as effects sends
(“FX”), which lets you scope each type separately from the Snapshots tab.
This option is for organizing Aux Sends for snapshot control
only, and does not directly affect Aux bus operation.
MTC (MIDI Time Code)
The MIDI Time Code options let you control MTC operational
modes, frame rate, and Start Time.
Modes Available MTC modes are MTC Off, MTC Read (slave),
and MTC Generate (master).
Frame Rate This option sets the frame rate that is used when generating MTC.
Start Time This option sets the start time that is used when gener-
ating MTC.
Snapshots tab of the Options page
Snapshot General Preferences
The following settings are available in the Snapshots tab.
Center Last Recalled Snapshot Manages the display of the
Snapshots list so that the last recalled snapshot is always centered
vertically, letting you maintain display of adjacent snapshots in
the list.
Default Crossfade Time Defines the length of time it takes to
crossfade between fader levels when recalling snapshots. Maximum crossfade time is 99.9 seconds.
Crossfade Pan, Balance, and Width All Pan, Balance and Width
parameters follow the default snapshot crossfade time.
PRE
The options in the PRE section let you specify which parameters
are recalled with Snapshots whose scope includes Pre settings.
Click to toggle whether recalled Input snapshot data includes the
following:
• Gain, Pad, and Phase
• +48V (phantom power)
Delay is stored as a unique (discrete) data type for each channel.
62
S3L System Guide
MIDI
These settings designate the MIDI channel on which Snapshots
send or receive MIDI Bank Select and Program Change information.
See Chapter 22, “Synchronization.”
Snapshots Send on Channel This option sets snapshots to send
Bank Select and Program Change commands on a selected MIDI
channel. This provides a quick and easy way to send a MIDI command every time a snapshot is fired, without having to embed a
MIDI program change within each snapshot.
Snapshot Send on Channel does not need to be turned on in order
to send other types of MIDI data that are embedded in snapshots,
such as note on/off or MMC.
Snapshots Respond to Channel This option sets snapshots to respond to incoming Bank Select and Program Change commands
on the selected MIDI channel.
Misc
The system clock setting can affect data synchronization with
portable storage devices. See “Synchronizing Settings,
Shows and Presets” on page 185.
The Miscellaneous (Misc) tab provides utility and other settings.
Show Time in Status Area
You can choose to show time of day in the lower right corner of
the screen in the Status display area.
To show time of day in the Status area:
1
2
Go to Options > Misc.
In the System Clock section, enable the Show Time in Status
Area option.
3
Select a format for the displayed time: 12 hour (AM/PM) or 24
hour.
Misc tab of the Options page
Oscillator
These options let you choose the tone, frequency, and level for
the system’s built-in Oscillator, and let you route it to the desired
outputs.
Time of day is shown whenever the status of the plug-in racks is
OK; plug-in rack status messages (if any) temporarily replace
time of day display to alert you to plug-in rack status.
Channel Delay
This section lets you set the display units on all applicable input
and output delay controls. This makes it possible to set the delay
based on any of the following:
2-Track
This section lets you route a pair of Console or Engine analog or
digital hardware inputs (including USB 2-Track inputs) directly
into any output using the 2-Track inputs. This allows you to send
audio to the selected outputs without using a system channel to,
for example, confirm system audio output.
To use the USB 2-Track for playback and recording, see
Chapter 24, “2-Track USB Recording and Playback.”
• delay time (in milliseconds)
• distance to the source (in feet or meters)
• number of samples of delay
Tap Tempo
This section lets you enable and adjust the settings for Tap
Tempo. Tap Tempo lets you quickly establish a system tempo to
use as a beat clock for delay and echo plug-ins that support
Tempo Sync.
Talkback
This sections lets you route a single Console or Engine analog input directly into any output bus using the Talkback circuit. This
allows you to send talkback to outputs (such as Auxes feeding
stage monitors) without having to use a system channel.
See “Oscillator, Talkback, and 2-Track Controls” on
page 134 for more information.
System Clock
This section lets you set the date and time for the system, as well
as display preferences. See “Setting the System Clock” on
page 19 for instructions.
Changing the system clock while using a timed iLok license
(for a plug-in with a demo period, or for a plug-in rental) may
expire the plug-in authorization.
See “Tap Tempo for Plug-ins” on page 225 for more information.
Mouse
Pointer Speed and Mouse L/R Settings
This section lets you customize the response speed for the trackball (or mouse) and on-screen cursor, and reverse the left/right assignment of the Trackball buttons, from the Options > Misc page.
To customize Pointer Speed:
1
Go to Options > Misc.
2
Do any of the following:
• To adjust cursor speed, click the Pointer Speed pop-up
menu and choose a higher value for faster response, or a
lower value for a slower response.
• To reverse the left/right assignment of the two Trackball
buttons, click to enable Switch Buttons.
Chapter 6: Options 63
Interaction
The Interaction tab lets you configure behaviors for selected
channels, Input Safe Switches, Lights, Meter, Ethernet, and LCD
Display.
Meter
The following display options can be configured for meters.
These options affect the 16 channel meters on the S3 control surface and on-screen.
Metering options in the Interactions tab of the Options page
Meter Ballistics
This option lets you choose RMS or Peak ballistics for the control
surface and on-screen meters.
Interaction tab of the Options page
Channel Selection
Options in this section determine how channels are selected for
targeting in Channel Control and on-screen.
To customize control surface and screen interaction:
1
Go to the Options page and click the Interaction tab.
2
Set the following Assignable Channel Selection options:
Change Target By These options let you specify how a channel is
selected for targeting in Channel Control and on-screen. Select
any or all of the following options:
•
Touching Input Faders
•
Engaging Input Solos
•
Touching Output Faders
•
Engaging Output Solos
Targeting Changes View Mode This option updates the
on-screen display to show the page for the currently selected
channel. When this option is deselected, the on-screen display
does not update when a channel is targeted.
RMS Ballistics (Default) Meters follow the characteristics of a
damped analog meter. In this mode, meter response and decay is
slower than in Peak mode, providing an average reading of the
metered signal. A single LED shows the peak level for the designated Peak Hold Time.
Peak Ballistics Meters follow the characteristics of a standard
peak meter. In this mode, meter response is instantaneous, showing the true peak level of the metered signal.
You can set Pro Tools metering to mirror VENUE metering.
See “VENUE Metering Options in Pro Tools” on page 259.
Clipping Indication
VENUE meter clip indicators are proximity warnings that show
when an input or output signal reaches or exceeds the configured
Clip Margin.
Clipping can occur at several points throughout the signal chain.
A clip at any one of these points is indicated by lighting the top
LED red on the meter. For more information on the location of
clip detect points, refer to Chapter 26, “Signal Flow Diagrams.”
Clip Margin
The Clip Margin setting lets you configure the amount of headroom you want before clipping indication begins. Clip Margin is
expressed as dB below maximum (where maximum is a peak level
of +20 dB VU).
Clip Margin can be set within a range of 0 dB to 30 dB below
maximum, and is configured separately for inputs and outputs.
To set the Clip Margin:
64
S3L System Guide
1
Go to Options > Interaction.
2
Under Meter, enter values for Input Clip Margin Below Max and
Output Clip Margin Below Max.
3
Press Enter to confirm the setting.
Clip Hold Time
Ethernet Control
The Clip Hold Time determines how long a clip indication lasts
after the last clipped signal. Clip Hold Time can be set within a
range of 0–20 seconds.
Ethernet Control settings let you configure the following:
To set the Clip Hold Time:
1
Go to Options > Interaction.
2
Under Meter, enter a value for the Clip Hold Time.
3
Press Enter to confirm the setting.
Metering Points
These options let you choose the point in the signal path where
the signal is picked off for metering input and output channels.
Input Channels Metering Point Choose one of the following op-
tions to set the input channel metering point:
ECx Network Settings These settings let you configure ECx
Ethernet Control to remotely control of your system over a wired
or wireless Ethernet network. See Chapter 31, “ECx Ethernet
Control.”
VENUE Link Settings These settings let you configure VENUE
Link to integrate a Pro Tools system with VENUE. See “VENUE
Link” on page 256.
Lights
Console and LED/Display settings let you adjust the brightness
of the following items:
Console Lights Adjust brightness of external lights connected to
the Lights connectors on the S3 control surface.
• Top of Channel
• Insert Return
• Post-Fader (Pre-Mute)
Output Channels Metering Point Choose one of the following
options to set the output channel metering point:
LEDs and Displays Adjust brightness of LED and displays on
the control surface.
Dim Consoles Displays After Automatically dims the displays
and LEDs on the control surface after the interval selected in the
pop-up menu.
• Top of Channel
Touch any control on the control surface or move the
mouse to undim the displays.
• Post-Fader (Post-Mute)
Input Safe Switches
Displays
These options let you set the Safe Mode for the Input Channel and
FX Return Safe buttons. Safe mode for Input Channels and FX
Returns is enabled globally, and can be set to one of the following
modes:
These options let you customize the behavior of the on-screen
display.
Act as Automation Safes Automation Safing a channel lets you
suspend the effect of snapshots on all parameters of the channel.
For more information, see “Automation Safe” on page 198
Output Channel Safe switches and buttons are always set
to Act as Automation Safes.
Act as Solo Safes Solo Safing an Input Channel or FX Return
prevents that channel from being implicitly muted when any
other channel is soloed. See “Solo Safing Channels” on page 132.
You can use Events to program a Function switch or other
trigger to cycle through Input Safe Switch modes. For more
information see Chapter 21, “Events.”
Show Channel Strip Value While Moving Fader This option determines what is displayed in a Channel encoder display when its
corresponding fader is adjusted. When selected (default), the
Channel encoder display switches from showing channel name to
showing the value (level) when a fader is adjusted. When deselected, the Channel encoder displayed does not show the level
values when the fader is adjusted.
Show VCA Contribution This option lets you display a secondary, transparent fader cap on each on-screen fader strip that represents the effective channel gain (channel gain plus associated
VCA gain, if any). For more information, see “VCAs” on
page 97.
View Mode Switch 1 and 2 Assignments
These options let you choose the software page that is displayed
on-screen when you press the View 1 or View 2 View Mode
switch on the S3 control surface.
To edit a View Mode switch assignment:
1
Click the View Switch 1 box or the View Switch 2 box.
2
From the pop-up menu, select a software page you want the selected View Mode switch to target.
Chapter 6: Options 65
Devices
The Devices tab lets you view and edit system connections, edit
hardware settings, provides troubleshooting and diagnostic options, and provides network information.
Stage 16 Network Port A and B LEDs
When a Stage 16 is assigned to a Stage slot on the Devices tab,
on-screen LEDs are provided to indicate the status of the physical
A and B Network ports on that device
Stage 16 Network Port LEDs
Devices tab of the Options page
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 redundant configuration.
Amber
This port is connected and is part of a non-redundant daisy-chain.
Red flashing
The port has lost a connection with a device.
When canceled via dialog box, it turns off.
Off
This port does not have a connection with a
device. For example, it is a device at the end of a
non-redundant daisy-chain.
External Devices
The External Devices section provides icons to show the status of
S3L system connections to Pro Tools, an external word clock device, and a MIDI device. Each icon is lit whenever a valid connection is detected by the S3L system.
Managing Stage 16 Boxes
You can manage connected Stage 16 boxes on the Devices tab.
You can identify Stage 16 boxes, mute Stage 16 outputs, and
view the status of Stage 16 audio network connections.
Identifying Stage 16
Troubleshooting and Diagnostics
You can reset each hardware component individually and view
the Hardware Monitoring window from the Devices tab. See “Resetting Hardware Components” and “Hardware Monitoring Window” on page 294 for more information.
Viewing Device MAC Addresses
The Identify button on an on-screen Stage 16 icon lets you identify the physical Stage 16 that corresponds to that Stage 16.
The S3, E3 engine, each connected Stage 16, and a connected
Pro Tools computer has a unique MAC address for networking
purposes. You can view the MAC addresses of these devices.
To identify a connected Stage 16:
To view the MAC address of a device:

Click the Identify button on the Stage 16 box to latch the button
on. The Identify button on-screen flashes, and the Power and
Status LEDs on the front panel of the corresponding Stage 16
box flash.
Muting Stage 16 Outputs
The Mute button on the Devices tab mirrors the function of the
Mute switch on the Stage 16 front panel. Mute is only available
for assigned Stage 16 boxes.
Stage 16 I/O is muted when unassigned to a Stage slot on
the Devices tab.
To mute the outputs of a Stage 16:

66
Click the Mute button for any assigned Stage 16.
S3L System Guide

Right-click a hardware component icon to view its MAC address.
Viewing E3 Engine DSP resources
In the Engine section, the DSP usage window shows how the
DSPs in your system are allocated. See “Plug-In DSP Usage” on
page 176 for more information.
Simulating a VENUE Configuration with
the Standalone Software
With the VENUE Standalone software, you can use the Devices
tab to simulate a VENUE system of any size for purposes of preparing shows and training. See “Simulating a VENUE Configuration” on page 238.
Events
The Events tab of the Options page lets you use the Event list to
customize the function of switches, footswitches and General
Purpose Interface (GPI)-connected devices.
For information, see Chapter 21, “Events.”
Events tab of the Options page
Plug-Ins
The Plug-Ins tab of the Options page is used to install plug-ins on
the system. The Plug-Ins tab is not available in the VENUE
Standalone software.
See “Installing and Authorizing Plug-Ins” on page 161.
Chapter 6: Options 67
Part III: Signal Routing
Chapter 7: Inputs and Input Routing
This chapter describes how to do the following:
• Configure system settings for input channels, including setting the input channel configuration, naming channels,
combining two channels into a stereo channel, and reordering channels
• Assign input sources to input channels in the Patchbay
• Route input channels to Mains, Groups, and Aux Sends, to
Matrix mixers and other output busses, and to plug-ins
• Adjust input channel parameters
• Store input channel parameters as presets, and recall those
presets
Configuring Inputs
The S3L system provides the following two types of input channels:
Input Channels Sources for Input Channels include Stage 16 inputs, Console, and Engine audio inputs, inputs from Pro Tools,
and inputs from bus-fed plug-ins. Input Channels can be mono or
stereo. Each mono channel controls one input, and each stereo
channel controls two inputs in tandem. Input Channels can appear
on any of the input channel strips. Up to 64 mono Input Channels
are available. Input channels are assigned in banks of 16 to the
channel strips on the S3 control surface.
FX Returns Effects return channels (or FX Returns) are used to
control signals from bus-fed plug-ins and external hardware
(such as outboard effect processors), from USB playback outputs
(for playback of tracks from a connected USB drive), and from
Pro Tools (to monitor a recording, for example). Microphones
can also be assigned to FX Returns. FX Returns are always stereo.
The S3L system can be configured with Input Channels only, or
with a combination of Input Channels and FX Returns. Input
channels can also be named, combined into a stereo channels, and
reordered.
Chapter 7: Inputs and Input Routing 71
Setting the Input Channel Configuration
Naming Input Channels
You can choose one of the following input channel configurations:
Input Channel and FX Return channel names can be changed
from the Inputs page. Channel names can be up to 32 characters
in length. When displayed on the S3 control surface, names are
abbreviated to fit the display
• 48 Input Channels plus eight stereo FX Returns
• 64 Input Channels
The Input Channel numbers (48 and 64) represent mono input
processing channels, not physical hardware inputs. Each stereo
channel uses two mono channels. Input channel configurations
are stored with Show files.
If there are more input processing channels available than
physical hardware inputs, then you can use the “extra” input
processing channels for advanced monitor mixing workflows.
For more information, see “Assigning a Source to Multiple
Input Channels” on page 75.
Channel names can also be changed on the Patchbay page.
See “Naming Channels from the Patchbay” on page 123.
To change the name of an Input Channel or FX Return channel:
1
Go the Inputs page.
2
Select the channel whose name you want to change.
3
Double-click the channel name.
To set the number of available Input Channels:
1
Put the system into Config mode.
2
Go to Options > System.
3
Click Edit.
Changing the name of an Input Channel on the Inputs page
4
Choose 48 or 64 from the Input Channels pop-up menu.
4
Two mono inputs about to be combined into one stereo channel
5
Click Apply. The system restarts with the new Input Channel
configuration.
Audio will be interrupted when this configuration change is
applied.
72
S3L System Guide
Type a new name and press Enter on the computer keyboard.
Combining Input Channels (Make Stereo)
Splitting Stereo Channels
Pairs of mono input channels can be combined to make stereo
channels, whose left and right sides are then controlled by one input channel strip. Stereo channels can also be split back into
mono channels.
To split a stereo channel into two mono channels:
To combine two mono input channels into a single stereo
channel:
3
1
Put the system into Config mode.
2
Multi-Select two adjacent Input Channels
Each selected stereo channel is split, placing the channels next to
each other on the S3 control surface and in the Patchbay. Delete
blank strips manually to maintain channel layout, if necessary.
3
Right-click either of the selected mono channels on-screen and
choose Make Selected Mono Strips Stereo.
1
Put the system into Config mode.
2
Select the stereo channel you want to split.
Right-click the selected channel and choose Split Selected
Stereo Strip to Mono.
Reordering Input Channels Using Drag
and Drop
Input channel strips can moved and reordered by dragging and
dropping an input channel on-screen.
To reorder an input channel:
1
Put the system into Config mode.
2
Go to the Inputs page.
Two mono inputs about to be combined into one stereo channel
3
Target the input channel that you want to move by clicking the
channel’s on-screen fader strip.
Each selected channel is combined with the next-highest selected channel, even if the selected channels are not consecutive.
4
Drag the channel, denoted by the blue line, to the desired location and release the button on the mouse.

Blank strips are created and inserted where necessary to maintain channel layout in that bank.

 Parameter values from the left most channel of each pair are
applied to both channels

The pan control becomes a Balance/Width control.
 Combined channels are shown in the Patchbay as left and right
sides of the Input Channel name. FX Returns are always stereo,
so they cannot be combined or split.
Reordering an Input channel 8 using drag and drop
Stereo Input Channel on the Input tab of the Patchbay
The location of the channel changes on the control surface and
on-screen (on the Inputs page and in the Patchbay). The original
hardware input for the channel remains the same, and all other
channel parameters are preserved.
You can select and reorder multiple input channel strips. Shift
click multiple fader strips and drag them to the new location.
Channels can also be moved using the Move Selected Strip
right-click command. See “Move Selected Strip” on
page 48.
Chapter 7: Inputs and Input Routing 73
Assigning Input Sources to Channels
Inputs sources can be assigned to any Input Channel or FX Return
using the Patchbay. In the Patchbay, each S3L system component
has a corresponding hardware tab that displays the available hardware input sources, as follows:
Hardware Tabs
Component Hardware Inputs
Stage 1–4
Stage 16 analog inputs
Engine
E3 engine analog inputs, USB 2-track playback inputs (USB), and built-in Oscillator
(Osc) inputs
Console
S3 control surface analog mic and line inputs
Pro Tools
Assignable Ethernet AVB Inputs from
Pro Tools (see “Inputs from Pro Tools” on
page 75 for more information).
The channel source (hardware input) and its destination (channel
name/number) is shown above the hardware tabs.
Channel source and destination shown on the Inputs tab of the
Patchbay
Channel source information is also shown under the channel
name on the Inputs and the Patchbay > Inputs pages, and in the
Channel encoder and Channel Control displays on the S3 control
surface when the Source switch is engaged.
LR
EQ
Plug-in outputs can also be an input source, as in an effect
Send/Return arrangement. See “Creating an Effect Send/Return” on page 107.
To assign a single input source to an Input Channel or FX Return:
1
Go to the Inputs tab of the Patchbay.
2
To the left of the channel grid, do either of the following
• Click the Channels tab to display Input Channels.
• Click the FX Returns tab to display FX Returns (if available).
Shift-click any number of Channel Type and/or hardware
tabs to select and display multiple tabs in the Patching
Grid.
3
Along the top of the channel grid, click any of the hardware
tabs to display hardware input sources.
4
Place the cursor over the Patching Grid. The cursor changes to
a crosshair, and lines extend above and to the left of the current
cursor location to identify the column and row in which it is located.
5
Click in the row for the channel and in the column for the hardware I/O source. The destination crosspoint sets the targeted
channel.
Assigning input sources in the Patchbay
74
S3L System Guide
DY
S1A4
1
Pan
Channel source on the Inputs page (top) and in the Channel encoder
display (bottom)
To assign multiple channels in a single action, do either of the
following:

Click and drag vertically, horizontally, or at an angle to assign
multiple patch points in a single action.

Click the Default Assignment button and click Assign in the
confirmation dialog to assign all Stage inputs currently displayed in the channel grid to multiple consecutive Input Channels.
Clicking the Default Assignment button
To assign all available Stage inputs to all Input Channels
consecutively, select all Stage hardware tabs and click the
Default Assignment button.
Inputs from Pro Tools
The following types of inputs from Pro Tools are provided:
Virtual Soundcheck Inputs Any S3L input channel with a Stage
input as its source is automatically assigned a corresponding
Pro Tools Virtual Soundcheck input. Virtual Soundcheck inputs
are typically sourced from a Pro Tools session created specifically for performing Virtual Soundchecks.
Virtual Soundcheck inputs are highlighted in purple in the Patchbay patching grid (under the Inputs > Pro Tools tab), and their
Patchbay assignments cannot be changed. See “Using Virtual
Soundcheck” on page 259.
Assigning a Source to Multiple Input
Channels
A hardware input source can be assigned to multiple Input Channels or FX Returns in the Patchbay (you can fan out a source to
multiple channels).
Channels assigned to the same input source share a common preamp gain and a common Virtual Soundcheck input button. Adjusting the gain on one channel automatically adjusts the gains on
the fanned-out channels. All other channel functions (such as EQ,
dynamics, routing, and panning) remain independent, making it
convenient to have a channel appear on one input strip to bus and
process it for the house mix, and on another input strip with different processing for monitor mixing.
Using multi-assigned inputs requires additional input channels be
available in the current System Configuration. If you are using all
available stage inputs, you must increase the number of Input
Channels in the Options > System page.
Virtual Soundcheck input button
Assignable Pro Tools Inputs For system input channels that are
not assigned a Stage input as a source, assignable Pro Tools inputs are available, up to the maximum number of available
Pro Tools I/O channels (64 or 32). Assignable Pro Tools inputs
can be assigned to any system Input Channel or FX Return.
Assignable inputs can be used to monitor your Pro Tools recording on your S3L system, or to incorporate pre-recorded audio
tracks into your live mix. See “Using Pro Tools Assignable I/O”
on page 261.
Assigning Bus-Fed Plug-Ins and the
Oscillator
Bus-fed plug-ins can be assigned to Input Channels and FX Returns from the Plug-In Rack (see “Routing a Plug-In as a Bus Processor” on page 172).
You can also assign the built-in Oscillator to input channels (see
See “Using the Oscillator” on page 134.).
For more information, see Chapter 25, “Pro Tools Recording and Playback”.
Chapter 7: Inputs and Input Routing 75
Routing Input Channels to Outputs
Input Channels and FX Returns can be routed to Mains and
Groups, and Matrixes. Signals from Input Channels and FX Returns can be sent to Aux and Variable Group busses, and channels
can be assigned to VCAs.
Routing Inputs to the Mains and Groups
Input Channels and FX Returns can be routed to the Mains L-R,
Mono/Center, and Groups on the S3 control surface using
Multi-Assign, or on-screen.
To route a channel to the Mains and Groups busses on-screen:
1
Select one or more channels.
2
Do any of the following on-screen:
• To route to Mains, click the L–R (left and right) and/or
C/Mono (center/mono) button in the Bus Assigns section so
it is lit.
• To route to a Group bus, click a Groups 1–8 button.
The L–R, C/Mono, and Groups 1–8 buttons light to indicate its
routing to the corresponding bus.
When assigning channels to the Mains using Multi-Assign, channels are always assigned to both the Left and Right busses regardless of which bus is selected or their linked status. Channels are
assigned to the C/Mono bus separately.
See “Adjusting the Mains” on page 93 for more information
To route channels to the Mains or Groups using Multi-Assign:
1
Do any of the following:
• To route to the Main L-R, select the Left or Right Mains
channel.
• To route to the Center/Mono bus, select the Center/Mono
channel.
• To route to a Group bus, select the desired Group bus.
“Selecting and Targeting Channels” on page 44.
2
Press the Multi-Assign switch (or button on the Outputs page).
The flashing Multi-Assign, OK and Cancel switches, and the
banner display at the lower left of the screen indicate
Multi-Assign mode is enabled.
A
E
B
F
C
Multi
Assign
D
OK
User
Cancel
Multi-Assign switch
3
Bank Input Channels/FX Returns to the channel strips and
press the channel Sel switches for the channels you want to
route to the currently targeted output.
4
To confirm the assignment and exit Multi-Assign mode, press
the OK switch,
5
To cancel the assignment, press the Cancel switch, or press the
Esc key on your keyboard.
76
S3L System Guide
Assigning an input to the Mains Left-Right bus
LR is shown in its corresponding channel encoder display to indicate when a channel is routed to the Main L-R busses.
LR
EQ
DY
Ch 1
1
Pan
Mains routing shown in the channel encoder display
Assigning Inputs to Matrix Busses
Each of the eight available Matrix mixers can receive up to 12
channels of input. Input sources can be any combination of
Auxes, Groups or Mains, or any other input source via one of the
eight available Matrix User inputs.
Sending Inputs to Auxes and Variable
Groups
Signals from Input Channels and FX Returns can be sent to Aux
and Variable Group output busses using the channel encoders,
Channel Control, or on-screen. See “Adjusting Aux and Variable
Group Send Controls” on page 108.
Configuring Aux Busses (Aux Sends)
The S3L system can be configured to have 8 Auxes and 8 stereo
Groups, 16 Auxes and 8 mono Groups, or 16 Aux busses and 8
Variable Groups (24 bus) as part of the overall Aux/Group bus
configuration. Mono Aux buses can be linked in odd/even pairs to
function in stereo (see “Configuring Aux and Group Busses” on
page 88).
Assigning Inputs to VCAs
Input channels can be assigned to VCAs for consolidated control
of multiple channels.
To assign one or more channels to a VCA:
1
Select the VCA to which you want to route channels.
2
Press the Multi-Assign switch.
3
Bank input channels and select the channels you want to assign to the VCA.
4
To confirm the assignment and exit Multi-Assign mode, press
the OK switch.
5
To cancel the assignment, press the Cancel switch.
For information on using VCAs, see “VCAs” on page 97.
Routing Inputs to Direct Outputs
Adjusting Input Parameters
Input parameters can be adjusted on the S3 control surface or
on-screen. For a description of on-screen input controls, see “Adjusting Input Controls On-Screen” on page 81.
Input Gain
All S3L system analog mic/line XLR inputs have a gain range
from +10 dB to +60 dB. All system digital inputs (including AES
digital inputs, USB playback inputs, and inputs from Pro Tools)
and 1/4-inch TRS line inputs have a gain range from –20 dB to
+18 dB. An automated Gain Guess feature for quick and easy
gain setting is provided.
If a hardware input is assigned to a different channel, gain,
pad, and phantom power settings move with the input.
Adjusting Input Gain
Input Gain can be controlled from the S3 control surface using the
channel encoders and Channel Control. Input Gain level is indicated in the corresponding channel encoder and Channel Control
displays.
To adjust channel input gain from the channel encoders:
1
Bank Input Channels and/or FX Returns to the channel strips.
2
Press the Gain Channel Encoder Assign switch to assign gain
control to the channel encoders.
All Input Channels and FX Returns have Direct Outputs, which
can be assigned to hardware outputs, used as inputs to plug-ins,
and sent to Pro Tools. Direct Outs are assigned in the Patchbay,
and can be controlled from Channel Control or on-screen. For
more information on routing and adjusting Direct Outputs, see
“Direct Outputs” on page 95.
Input
Gain
HPF
EQ
Dyn
Insert
Comp
Pan
Mix
Pan
Aux
Flip
Channel
Flip
Group
Aux
Gain Channel Encoder Assign switch
3
Adjust the gain for each banked channel by rotating the corresponding channel encoder. The gain level setting for each
channel is indicated in its corresponding channel display.
LR
EQ
DY
Ch 1
1
Gain
Gain assigned to the channel encoders
Chapter 7: Inputs and Input Routing 77
Setting Right Offset on Stereo Channels
To adjust channel input gain from Channel Control:
1
Select one or more channels to target them in Channel Control.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays (User, Input, EQ, Comp/Lim,
Exp/Gate, Aux 1–8, Aux 9–16, and Var Groups).
Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu.
3
Press the Channel Control encoder under the display showing
Input.
Ch 1
Top
Back
In
Page
Expnd
Page
User
On stereo Input Channels and FX Returns, the Gain control affects both the left and right channels. The Right Offset feature lets
you offset the gain of the right channel relative to the left channel
by –20 dB to +20 dB, within the overall gain limits.
To adjust Right Offset from Channel Control:
1
Select one or more input channels.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays.
3
Press the Channel Control encoder under the display showing
Input.
4
Under the display showing Right Offset, adjust the offset by rotating the assigned Channel encoder.
1
Input
EQ
Stereo Level Offset Indication
Input Channel Control encoder
4
Gain (with Gain Guess) is assigned to the first encoder in
Channel Control. Adjust the gain by rotating the encoder.
Using Gain Guess
The automated Gain Guess function can be used to set a nominal
level for a channel based on its incoming signal. When you enabled Gain Guess, the system samples incoming signals and automatically sets the channel Input Gain and pad for a 0 dB reference. Gain Guess follows the current Meter mode (Peak or RMS).
To engage Gain Guess:
1
2
The Stereo LED below the channel meter flashes when the difference in signal level between the left and right channels is 12 dB or
greater.
20 dB Pad
A 20 dB pad can be applied to any analog input assigned to an Input Channel or FX Return.
To apply a 20 dB pad from the channel encoders:
1
Press the Gain Channel Encoder Assign switch to assign Gain
control to the channel encoders.
2
Press the channel encoder In switch to toggle the pad in/out.
On-Screen, click and hold the Guess button. The LED flashes
to indicate level sampling.
LR
EQ
Release the button. Input Gain will be set so the incoming signal reaches 0 dB peak (if Peak mode is selected) or 0 dB RMS
(if RMS mode is selected).
DY
Ch 1
1
Gain
Channel encoder In switch
To apply a 20 dB pad from Channel Control:
Engaging Gain Guess on-screen
1
Select one or more input channels.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays.
3
Press the Channel Control encoder under the display showing
Input.
4
Under the display showing Gain, press the corresponding encoder In switch to toggle the pad in/out. A lit In switch indicates the Pad is in.
The Gain Guess feature turns the Pad on or off as needed to
accommodate incoming signal level
78
S3L System Guide
48V (Phantom Power)
Stereo Width
48V phantom power can be applied to any analog input assigned
to an Input Channel or FX Return.
Width adjusts the stereo image of stereo Input Channels and
FX Returns by controlling ganged pan positions of the left and
right channels, in opposite directions.
To apply 48V from the Channel Control:
1
Select an input channel.
Width can be adjusted from full L–R, to mono, to full reversed
L–R. Width controls are not available on mono channels.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays.
To adjust width of a stereo channel from the channel encoders:
3
4
5
Press the Channel Control encoder under the display showing
Input.
Press the Page > Channel Control Navigation switch to assign
the second page of input parameters to Channel Control.
Under the display showing 48V, press the corresponding encoder In switch to toggle phantom power for the selected channel in/out.
Pan/Balance
Pan adjusts channel pan (for mono channels) and stereo balance
(for stereo channels). On stereo channels, width controls are provided. A channel’s pan/balance/width setting is indicated in its
corresponding channel display.
1
Bank Input Channels and/or FX Returns.
2
Press the Pan switch in the Channel Encoder Assign section to
assign control of balance to the channel encoders.
3
Press a channel encoder Sel switch to assign width control to
that channel encoder.
4
Rotate the corresponding encoder to adjust the width for the
corresponding channel.
To adjust width of a stereo channel from Channel Control
1
Select one or more input channels.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays.
3
Press the Channel Control encoder under the display showing
Input.
4
Rotate the encoder under the display showing Width.
To adjust channel pan/balance from the channel encoders:
1
Bank Input Channels and/or FX Returns.
2
Press the Pan Channel Encoder Assign 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:
1
Select one or more Input Channels or FX Returns.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays.
3
Press the Channel Control encoder under the display showing
Input.
4
Rotate the encoder under the display showing Pan/Balance.
Chapter 7: Inputs and Input Routing 79
HPF
(High-Pass Filter)
A built-in 4th-order High-Pass Filter can be enabled on each Input Channel or FX Return. The HPF corner frequency range is
from 20 Hz to 500 Hz. HPF can be controlled using the Channel
encoders or Channel Control. A channel’s HPF setting is indicated in its corresponding display.
To adjust the built-in HPF from the channel encoders:
1
Bank Input Channels and/or FX Returns.
2
Press the HPF Channel Encoder Assign switch to assign HPF
to the channel encoders.
3
Press the channel encoder In switch to toggle the filter in/out.
4
Adjust the corner frequency by rotating the corresponding encoder.
Safe
Safe toggles Automation Safe or Solo Safe on/off for Input Channels and FX Returns, depending on the current Safe mode setting.
Safe mode is enabled globally for Input Channels and FX Returns
on the Options > Interactions page (see “Input Safe Switches” on
page 65).
To toggle the Solo Safe status of a channel on-screen:

Click the Safe button at the top of the fader strip to toggle Solo
Safe status of the channel. On-screen, the Safe switch flashes
green and displays the letter S when a channel is Solo Safed.
To adjust the built-in HPF from Channel Control:
1
Select an input channel.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays.
3
Press the Channel Control encoder under the display showing
HPF.
4
Adjust the HPF corner frequency by rotating the corresponding encoder.
5
Press the Channel Control encoder In switch to toggle the HPF
in/out.
Enabling Safe switches
Channel Solo
Three Solo modes are available: Solo In Place (SIP), Pre-Fader
Listen (PFL), and After-Fader Listen (AFL). Several other options are also available for configuring Solo bus operation. Additionally, channels can be implicitly soloed as part of a VCA.
To solo a channel:

Input Polarity Invert
(Phase Reverse)
The polarity of any Input Channel or FX Return signal can be inverted. With stereo channels, only the left channel is inverted.
To invert the polarity of a channel:
1
Select an input channel.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays.
3
Press the Channel Control encoder under the display showing
Input.
4
Press the Page > Channel Control Navigation switch to access
the second page of Input parameters.
5
Below the encoder labeled Polarity, press the corresponding
Channel Control encoder In switch to toggle polarity in/out.
Press the Solo switch on the channel strip. The switch lights
solid to indicate the channel is explicitly soloed.
The Solo switch has momentary and latching capabilities. See
“Using Solo” on page 131.
Channel Mute
To explicitly mute a channel:

Press the Mute switch on the channel strip. The switch lights
solid to indicate the channel is explicitly muted.
Channels can be muted in three ways: explicitly with the
channel mute switch; implicitly as a result of another channel being soloed, and as a member of a Mute Group or VCA.
See “Muting and Mute Groups” on page 137.
Channel Level
Channel faders provide channel level control from – (–INF) to
+12 dB. Use the faders on the S3 control surface or on-screen to
adjust individual channel levels.
Input channel levels can also be affected by VCAs (see “VCAs”
on page 97).
For more information on input and output fader banking, see
Chapter 4, “Banking and Selecting Channels.”
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S3L System Guide
Adjusting Input Controls On-Screen
The software screen Input section lets you adjust input parameters on-screen.
Using Built-In EQ and Dynamics on
Inputs
Each Input Channel and FX Return has a built-in 4-band EQ and
two Dynamics processors: a Compressor Limiter (Comp/Lim)
and an Expander/Gate (Exp/Gate). If the channel is a stereo channel, processor controls are linked and apply to both the left and
right sides of the channel.
Using Built-In EQ on Inputs
One of two EQ types can be selected for the built-in EQ, on a
per-channel basis: a full-spectrum parametric digital EQ or an analog-modeled EQ. EQ can be controlled from Channel Control or
on-screen.
For more information, including a description of the
on-screen EQ controls and display, see Chapter 16, “EQ.”
To use the built-in EQ on a channel:
1
Select one or more Input Channels.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays (User, Input, EQ, Comp/Lim,
Exp/Gate, Aux 1–8, Aux 9–16, Var Groups).
On-screen Input controls
Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu.
To adjust input parameters on-screen:
1
Select a channel.
2
Adjust the on-screen controls as needed:
3
• For controls such as the fader, Gain, and Pan, click the
fader/knob and drag to adjust the parameter.
• For button controls such as 48V and Pad, click the button to
toggle its on/off state.
Press the Channel Control encoder under the display showing
EQ. EQ controls are assigned to the Channel Control encoders.
Ch 1
1
Lo Gain
To reset an on-screen Input parameter to its default value, do one
of the following:

Alt-click the control.
– or –

Right-click the control and choose Reset.
To reset an entire channel to its default settings:

On-screen, right-click the on-screen fader and choose
Reset Ch <n>.
Channel Control showing the Lo Gain EQ parameter
4
Press the In switch in the Channel Control Navigation section
to toggle the EQ processor in/out.
5
Adjust the Channel Control encoders for the displayed parameters. An EQ response curve appears on-screen when adjusting
EQ parameters.
6
Press the Analog button on-screen to toggle between the two
EQ types.
Resetting a channel
Resetting a channel also unassigns any hardware input assigned to the channel.
Chapter 7: Inputs and Input Routing 81
Using Built-In Dynamics on Inputs
Built-In Dynamics can be controlled from the Channel encoders,
Channel Control, and on-screen. An input/output curve appears
on-screen when adjusting dynamics parameters.
For more information, including a description of the
on-screen Dynamics controls and displays, see Chapter 15,
“Dynamics.”
Comp/Lim
The built-in Comp/Lim can be engaged and its threshold can be
adjusted from the channel encoders. Channel Control provides
comprehensive control of Comp/Lim parameters.
To engage and adjust the built-in Comp/Lim from Channel
Control:
1
Select one or more input channels.
2
Make sure the Channel Control main menu is shown in the
Channel Control encoder displays.
3
Press the Channel Control encoder under the display showing
Comp/Lim. Compressor/limiter controls are now available on
the Channel Control encoders.
4
Press the In switch in the Channel Control Navigation section
to toggle the Comp/Lim processor in/out.
5
Adjust the Channel Control encoders for the displayed parameters.
To engage and adjust the built-in Comp/Lim from the channel
encoders:
Exp/Gate
1
Bank Input Channels and/or FX Returns.
The built-in Exp/Gate can be controlled from Channel Control.
2
Press the Comp Channel Encoder Assignment switch.
Comp/Lim threshold controls for the banked channels are assigned to the channel encoders.
To engage and adjust Exp/Gate controls:
LR
EQ
DY
Ch 1
1
Select one or more channels.
2
Make sure the main Channel Control menu is shown in the
Channel Control displays.
3
Press the Channel Control encoder under the display showing
Exp/Gate. Expander/gate controls are now available on the
Channel Control encoders.
4
Press the In switch in the Channel Control Navigation section
to toggle the Exp/Gate processor in/out. DY is shown in the
channel encoder display when either of a channel’s built-in
Dynamics processors is engaged.
5
Adjust the Channel Control encoders for the displayed parameters.
Thrshold
Comp/Lim Threshold assigned to channel encoders
3
Press a channel encoder In switch to toggle the Comp/Lim for
that channel in/out. DY is shown in the channel encoder display 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 setting is indicated in the display.
82
1
S3L System Guide
For more information, see Chapter 15, “Dynamics.”
Using Plug-In Inserts on Inputs
Plug-Ins are arranged in virtual racks, which allow signals to be
sent to and from each plug-in as if it were an external processor.
Plug-Ins can be used in the two following ways:
To toggle a plug-in on/off (in/out of circuit):
1
Select the channel on which the plug-in is inserted.
2
Go to the Inputs page and click the in/out button next to the desired plug-in to toggle it in/out of circuit. When the button
LED is lit, it indicates that the plug-in is in-circuit. When unlit,
the plug-in is out-of-circuit (bypassed).
Insert The plug-in is patched in at the insert point on an input
channel. Each input channel can have up to two plug-in inserts.
Send/Return Signal is sent to the plug-in over any of the system
busses (usually an Aux Send or a Direct Out) and routed back to
an Input Channel or FX return. See “Creating an Effect Send/Return” on page 107.
Plug-In In/Out button
For more information, see Chapter 17, “Plug-Ins.”
Using Input Direct
You can also insert outboard hardware. See Chapter 18,
“Hardware Inserts.”
Input Direct mode lets you completely bypass the built-in dynamics and EQ processing, and all inserts on input channels and FX
returns. This mode routes the input signal directly from the Top
of Channel pickoff to the channel fader.
Inserting Plug-Ins on Inputs
You can insert plug-ins on Input Channels and FX Returns directly from the Inputs page or from the Plug-In Rack.
To bypass all processing on an input channel or FX return:
1
Target the channel by pressing its Select switch.
To insert a plug-in on a channel:
2
Go to the Inputs page.
1
Select an input channel. If necessary, click to show the Inputs
page.
3
2
In the Inserts section of the Inputs page, do one of the following:
Click the Input Direct button in the Config section of the Inputs
page for the selected channel. The button flashes to indicate
Input Direct mode is active.
• Click one of the two plug-in insert pop-up menus buttons
and choose a plug-in directly from one of the Plug-In Rack
submenus.
– or –
Input Direct button
• 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.
Click to assign (left); click to go to the plug-in rack (right)
The name of the plug-in insert appears in the on-screen Plug-In
Insert display.
Chapter 7: Inputs and Input Routing 83
Input Channel Presets
Input channel configurations can be stored and recalled as Input
Channel Presets. Input Channel Presets can be previewed, recalled and transferred just like other VENUE preset files, letting
you quickly configure channels from among a library of favorite
setups.
When an Input Channel is stored or recalled as a preset, all parameters are affected except the following:
To preview and recall a saved Channel Preset:
1
Navigate to the Inputs page for the desired channel. Channel
Presets can only be loaded into a single channel at a time.
2
Click the Channel Presets icon.
3
If necessary, click the Folders icon and select the appropriate
Channel Presets folder from the pop-up menu.
4
Do any of the following:
• To preview an existing Channel Preset, click its name in the
Channel Presets window.
• Patchbay assignments, including Direct Outs
• To load the currently selected Channel Preset, press Enter
or click the Close box (X) in the Channel Presets window title bar.
• Hardware and software insert (plug-in) assignments and
in/out state.
Selecting a channel preset automatically loads the saved settings into the selected channel. Depending on the stored settings this may dramatically change channel level and signal
routing. Use caution when previewing Input Channel Presets
with a live source.
• To cancel without changing settings, click Cancel.
To rename, duplicate, overwrite or delete a Channel Preset:

Right-click the preset name in the Channel Preset window and
choose Rename, Duplicate, Delete, or Overwrite.
To store a channel as an Input Channel Preset:
1
Configure an input channel as desired.
2
Click the Channel Presets icon (the folder icon located to the
right of the Channel Routing indicator and +/– buttons).
Channel Compatibility and Input Channel
Presets
The following describe how different types of channel data is
handled when storing or loading Input Channel Presets.
Channel Names and Presets
New presets automatically inherit the current Input Channel
Name, or you can give them a custom name in the Presets window. The default channel number (such as “Ch 16") is used for
the preset name if the channel has an empty (null) name.
Loading Mono and Stereo Channel Presets
Channel Presets icon in the Inputs page
3
4
Specify a folder in which to save the preset, if the currently selected folder is not appropriate, by clicking the Folder selector
and selecting a different folder.
Click New.
You can load mono Channel Presets into stereo channels, and stereo Channel Presets into mono channels.
Loading Mono to Stereo Mono settings are applied equally to the
left and right channels of the stereo destination. The stereo destination channel retains its current balance and width settings.
Loading Stereo to Mono When loading a stereo preset into a
mono Input Channel, the left channel settings in the stereo preset
are applied to the mono destination channel. The mono destination channel retains its current pan setting.
Input Channel Presets window showing the Folder selector (top) and
the New button (bottom)
84
S3L System Guide
Channel Compatibility
When storing and loading Input Channel presets, remember the
following:
Group bus assignments are not applied if the settings in the preset do not match the current system Bus Configuration

 Aux send level or pan settings for individual aux pairs are not
applied if the stored stereo link/unlink state does not match the
current link/unlink state. For example, assume the stored preset
has Aux 1–2 linked, but the current system configuration has
these Auxes unlinked. When the preset is recalled Aux 1 and Aux
2 will retain their current settings (they will not be updated),
while all other Auxes are updated to the preset settings.
Transferring Input Channel Presets
Input Channel Presets are available as Built-In Presets in the
Transfer tab of the Filing page. This lets you transfer your Channel Presets to a USB storage device or other storage device for
backup and transfer to other systems.
Input Channel Presets are supported on all systems running
VENUE software 2.5 or later, including the Standalone software.
For more information, see Chapter 19, “Shows and File
Management.”
Chapter 7: Inputs and Input Routing 85
Chapter 8: Outputs and Output Routing
This chapter shows how to do the following:
• Configure and name outputs
• Assign outputs and busses to hardware outputs in the Patchbay
• Use built-in EQ and Dynamics on outputs
• Insert and use plug-ins and Graphic EQs on outputs
Auxes
Up to 16 Aux busses are available. The number of available
Auxes is set as part of the overall system Bus Configuration setting. See “Configuring Aux and Group Busses” on page 88.
Aux outputs are controlled from the channel strips by pressing
Fader Bank switch E, and from the Global Control encoders.
• Adjust on-screen output parameters
• Adjust Mains
• Use Direct Outs
• Use VCAs
See Chapter 10, “Auxes and Variable Groups.”
Variable Groups
• Manage bus assignments
When Variable Groups are enabled, the eight Group busses operate in much the same way as Aux busses, letting you send independently controllable signals to all 24 busses in the system.
Configuring Outputs
Variable Group outputs are controlled the same way as Groups.
The following types of output busses are available: Mains,
Groups (or Variable Groups), and Auxes. Eight Matrix mixers are
also provided.
Variable Groups are enabled as part of the overall system Bus
Configuration setting. See “Configuring Aux and Group Busses”
on page 88.
Mains
Matrix Mixers
Three Main busses are available: Left, Right, and Center/Mono.
Mains can be configured in L–R+M or L–C–R formats. For more
information, see “Configuring the Main Busses” on page 88.
Eight Matrix mixers are available. Each Matrix mixer is a discrete
12-in/1-out (mono) submixer, with the ability to link adjacent
Matrix mixers into stereo pairs. Matrix mixer input sources can
include up to 12 inputs, selectable from any combination of Aux,
Groups or Mains plus up to 8 unique Input Channels, FX Returns
or hardware inputs.
Mains can be controlled from the channel strips or from the
Mains Global Control encoder.
Groups
Eight Group busses are available. Groups can be globally configured to be mono or stereo as part of the overall system Bus Configuration setting. See “Configuring Aux and Group Busses” on
page 88.
Group outputs are controlled from the channels strips by pressing
Fader Bank switch F (channel strips 1–8), and from the Global
Control encoders.
User Source input assignments are stored in Snapshots as
part of their distinct Matrix data type.
Pre- and post-fader tap for Matrix sources are assigned in the
Pickoffs tab of the Options page.
Matrix outputs are controlled from the Global Control encoders.
Matrix inputs are controlled from the Global Control encoders
when a particular matrix is selected in Global Control.
See Chapter 11, “Matrix Mixers.”
See Chapter 9, “Groups.”
Chapter 8: Outputs and Output Routing 87
Configuring the Main Busses
4
Select one of the three available bus configuration.
The Main busses can be configured to operate as either:
L–R plus Mono Pans signals between the left and right channels
to the L–R bus, and sums signals to a separate mono bus.
L–C–R Pans signals across left, center and right channels.
Audio is interrupted when a System Configuration setting is
applied. Do not change these settings during a performance.
To configure the Main busses:
1
Put the system into Config mode.
2
Go to Options > System.
3
Click Edit.
Selecting a bus configuration
5
Click Apply. The system restarts with the new bus configuration.
Data Cleared When Changing Bus Configurations
When the bus configuration is changed, settings for Groups are
cleared (or set to default) from all current settings and from all
stored snapshots.
Linking Aux Busses
Setting the Main bus configuration
4
Select the configuration for the Main Busses.
5
Click Apply. The system restarts with the new Main bus configuration.
Configuring Aux and Group Busses
You can link odd/even bus pairs and pan input signals into those
bus pairs. Aux bus pairs are linked on a global basis, and appear
as linked on all channels. For information on linking Auxes, see
“Linking Aux Busses for Stereo Operation” on page 105.
Naming Output Channels
Output channel names can be changed from the Outputs page.
Channel names can be up to 32 characters in length. Names are
abbreviated to fit the displays on the S3 control surface.
Auxes and Groups/Variable Groups share available system busses. Configuration options include the following:
Channel names can also be changed from the Patchbay
page. See “Naming Channels from the Patchbay” on
page 123.
16 Auxes + 8 Mono Groups Divides the available system busses
between 16 mono Aux busses and 8 mono Group busses.
8 Auxes + 8 Stereo Groups Divides the available system busses
between 8 mono Aux busses and 8 stereo Group busses.
16 Auxes + 8 Variable Groups (24 bus) Divides the available
system busses between 16 mono Aux busses and 8 Variable
Group busses (enables Variable Groups mode).
To change the name of an Output channel:
1
Go to the Outputs page.
2
Select the channel whose name you want to change.
3
Double-click the channel name.
Audio may be interrupted or may change levels during this
configuration procedure.
Graphic EQ and/or 4-band channel EQ settings may be lost
when configuring Aux and Groups busses, so save any important EQ settings before reconfiguring. See “EQ Settings
and Presets” on page 157.
To configure the Aux/Group/Variable Group busses:
1
Put the system into Config mode.
2
Go to Options > System.
3
Click Edit.
88
S3L System Guide
Changing the name of an Output channel on the Outputs page
4
Type a new name and press Enter on the computer keyboard.
When naming an Aux or Variable Group output channel, the
name appears in the individual Aux and Var Group (if applicable) Send displays on the Inputs page, on the Outputs
page, and in the Patchbay.
Assigning Busses to Hardware
Outputs
Mains, Groups/Variable Groups, Auxes, and Matrix mixer outputs can be assigned to any hardware output on the system using
the Patchbay. In the Patchbay, each S3L system component has a
corresponding hardware tab that displays the available hardware
output destinations, as follows:
Hardware Tabs
Component Hardware Outputs
Stage 1–4
Stage 16 analog and AES digital outputs
Engine
E3 engine analog and AES digital outputs,
and USB 2-track recording outputs
Console
S3 control surface analog outputs
Pro Tools
Assignable Ethernet AVB outputs to
Pro Tools (see “Inputs from Pro Tools” on
page 75 for more information).
For more information using on the Patchbay, see Chapter 12,
“Patchbay.”
To assign a bus or mixer output to a hardware output from the
Patchbay:
1
Go to the Patchbay and click the Outputs tab.
2
To the left of the channel grid, click the Mains, Mtx (Matrix),
Aux or Grp (Groups) tab to display those output channels in the
grid.
3
Along the top of the channel grid, click any of the following
tabs to display available hardware output destinations:
• Stage 1–4 tabs
• Console
• Engine
• Pro Tools
4
Click in the channel grid to assign a bus or Matrix mixer output
(listed on the left) to a hardware output destination (listed
across the top).
The name of the source (bus or mixer) and its destination (hardware output) is shown above the hardware tabs, and below the
channel name in the Outputs and the Patchbay > Outputs tab.
Output source and destination on the Patchbay page
Output name and destination shown in the outputs page
Pro Tools Recording Outputs
The following types of recording outputs to Pro Tools are provided:
Direct Digital Splits Any S3L system input channel with a Stage
input as its source is automatically sent to Pro Tools as a unprocessed direct digital split of that Stage input. Recording direct
digital splits are an essential part of the Virtual Soundcheck
workflow.
Direct digital split outputs are highlighted in purple in the Patchbay patching grid (under the Outputs > Pro Tools tab), and their
Patchbay assignments cannot be changed.
Assignable Pro Tools Outputs For system input channels that
are not assigned a Stage input as a source, assignable Pro Tools
outputs are available, up to the maximum number of available
Pro Tools I/O channels.
Assignable outputs can be used to send the Main L/R mix, submixes from any output bus, and the Direct Out of S3L system I/O
channel to Pro Tools.
For more information, see Chapter 25, “Pro Tools Recording and Playback”.
Assigning a Matrix mixer output to a Stage IO box hardware output
Chapter 8: Outputs and Output Routing 89
Using Built-In Comp/Lim and EQ on
Outputs
Each Mains, Aux, Group, and Matrix output channel has a
built-in Compressor/Limiter (Comp/Lim) and a 4-band parametric EQ. If the channel is a stereo channel, the processor controls
are linked and apply to both the left and right sides of the channel.
Dynamics and EQ can be controlled using the Channel encoders,
Channel Control, and on-screen.
Processor controls for the Main Left and Right busses are
always linked, while the C/Mono bus has independent processor controls.
To engage and adjust the built-in Comp/Lim from Channel
Control:
1
Select one or more output channels.
2
Make sure the main Channel Control menu is shown in the
Channel Control displays.
Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu.
3
Press the Channel Control encoder under the display showing
Comp/Lim. Comp/Lim parameters are now available on the
Channel Control encoders.
4
Press the In switch in the Channel Control Navigation section
to toggle the processor in/out.
Using Comp/Lim on Outputs
Comp/Lim can be engaged and the threshold can be adjusted
from the channel encoders. Channel Control provides comprehensive control of Comp/Lim parameters.
For more information, including a description of the
on-screen Dynamics controls and displays, see Chapter 15,
“Dynamics.”
To engage and adjust the built-in Comp/Lim from the Channel
encoders:
1
Bank the output channels you wish to control.
2
Press the Comp Channel Encoder Assignment switch.
Input
Gain
HPF
EQ
Dyn
Insert
Comp
Pan
Mix
Pan
Aux
Flip
Channel
Flip
Group
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 input/output curve appears on-screen when adjusting dynamics
parameters.
Aux 8
8
Thrshold
Comp/Lim Threshold assigned to a channel encoder
90
S3L System Guide
Top
Back
In
Page
Expnd
Page
Controls for built-in dynamics processors in Channel Control
5
Adjust the Channel Control encoders for the displayed parameters. An input/output curve appears on-screen when adjusting
dynamics parameters.
When transferring S3L Show files containing output channel Comp/Lim and/or EQ processing to VENUE D-Show,
Profile, Mix Rack and SC48 systems, these settings are not
transferred.
Using Built-In EQ on Outputs
One of two EQ types can be selected for the built-in EQ, on a
per-channel basis: a full-spectrum parametric digital EQ or an analog-modeled EQ. EQ can be controlled from Channel Control or
on-screen.
For more information, including a description of the
on-screen EQ controls and display, see Chapter 16, “EQ.”
To use the built-in EQ on an output:
Using Inserts on Outputs
Software plug-ins and graphic EQs can be inserted on Mains,
Groups, Auxes, and Matrixes.
You can also insert outboard hardware. See Chapter 18,
“Hardware Inserts.”
Inserting Plug-Ins on Outputs
1
Select an output bus.
Plug-ins can be inserted on outputs directly from the Outputs
page.
2
Make sure the main Channel Control menu is shown in the
Channel Control displays.
To insert a plug-in on an output bus:
3
Press the Channel Control encoder under the display showing
EQ. EQ controls are now available on the Channel Control encoders.
Aux 8
1
Go to the Outputs page and select the bus where you want to
insert the plug-in.
2
In the Inserts section of the Outputs page, do one of the following:
• Click one of the two Inserts pop-up menus and choose a
plug-in directly from one of the Plug-In Rack submenus.
8
Lo Gain
– or –
• Click one of the two Inserts buttons to go to the Plug-In
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.
5
Adjust the Channel Control encoders for the displayed parameters. An EQ response curve appears on-screen when adjusting
EQ parameters.
6
Press the Analog button on-screen to toggle between the two
EQ types.
Click to assign (left); click to go to the plug-in rack (right)
Accessing Comp/Lim and EQ Controls On-Screen
The name of the plug-in insert appears in the on-screen Plug-In
Insert button.
Built-In Comp/Lim and EQ on output channels can be adjusted
using on-screen controls.
For complete instructions on plug-ins, see Chapter 17,
“Plug-Ins.”
To access the built-in Comp/Lim and EQ on-screen:
To toggle a plug-in on/off (in/out of circuit):
1
Go to the Outputs page and select the bus you want to adjust.
1
Select the channel on which the plug-in is inserted.
2
Click the Channel tab.
2
Go to the Outputs page and click the in/out button next to the
desired plug-in to toggle it in/out of circuit. When the button
LED is lit, it indicates that the plug-in is in-circuit. When unlit,
the plug-in is out-of-circuit (bypassed).
Plug-In In/Out button
Output channel Channel tab
Chapter 8: Outputs and Output Routing 91
Inserting Built-In Graphic EQs on Outputs
Built-in 31-band Graphic EQs can be inserted on Mains, Groups,
Auxes, and Matrixes. 16 Graphic EQs are available.
Adjusting On-Screen Output Controls
The software screen Output section lets you adjust output parameters on-screen.
To insert a Graphic EQ on an Output bus:
1
Go to the Outputs page and select the bus where you want to
insert the Graphic EQ.
2
Click the 31-Band Graphic Equalizer tab.
3
Click the Graphic EQ selector and choose an available mono
or stereo Graphic EQ.
Selecting a Graphic EQ
The entire Graphic EQ is displayed on-screen.
For information on configuring and using Graphic EQs, see
“Graphic EQ for Outputs” on page 156.
On-screen Output controls
To adjust output parameters on-screen:
1
Select an output channel.
2
Adjust the on-screen controls as needed:
• For controls such as the fader and delay, click the
fader/knob and drag to adjust the parameter.
• For Mute and Polarity Invert, click the buttons to toggle
their state.
To reset an on-screen output parameter to its default value, do
one of the following:

Alt-click the control.
– or –

Right-click the control and choose Reset.
To reset an entire output channel to its default settings:
1
Put the system into Config mode.
2
Right-click the on-screen fader for the output you want to reset
and choose Reset <name of output>.
Resetting a channel also deassigns any plug-in, hardware
input and GEQ assigned to the channel.
92
S3L System Guide
Using the Global Control Encoders
Adjusting the Mains
Mains can be adjusted using the channels strips and the Global
Control encoders. Mains can also be controlled on-screen (see
“Adjusting On-Screen Output Controls” on page 92).
The Mains Global Control encoder provides a single level control
for the currently linked Main busses. You can also assign each
Main bus to its own Global Control encoder.
To adjust Mains output levels from the Global Control encoder:
Mains Output Levels
1
By default, level control for the three Main busses (Left, C/Mono,
and Right) are linked. When linked, adjusting one level control
affects the levels of the other linked busses. Any or all Main busses can be unlinked for independent level control of each bus (see
“Unlinking Mains” on page 94).
Make sure the Global Control main menu is shown in the
Global Control displays.
Press the Back/Top Channel Control Navigation switch to return to the global Control Main menu.
2
Adjust the Mains Global Control encoder to change the level
of the currently linked Main busses. The level indicator in the
display shows the level setting for the currently linked Main
busses.
Using the Channel Strips
When Mains are banked to channel strips, each Main bus appears
on its own channel strips. Level offsets can be created for any
linked Main busses from the channel strips.
Monitors
To adjust Mains output levels from the channel strips:
1
Press the User bank switch. Mains Left, C/Mono, and Right
busses are banked to channel strips 14, 15, and 16 respectively.
Left
1
Mono
2
Right
3
Mains
Sel
Sel
Sel
Sel
In
In
In
In
Top
Back
Config
Expnd
Page
Page
Mains Global Control encoder
To assign each Main bus to its own Global Control encoder:

Channel displays showing Mains assigned to channel strips
2
3
Adjust any of the three faders to change the level for all three
Main busses.
To create a level offset between Main busses, hold the faders
for the channels you do not want to adjust, and adjust the desired fader.
Press the Mains Global Control encoder. Adjust any of the encoders to change the level for all three Main busses.
Left
Mono
Right
Master
Master
Master
Main busses assigned to the Global Control encoders
Chapter 8: Outputs and Output Routing 93
Unlinking Mains
To toggle the mute status of each Main bus independently:
You can unlink any of the three Main busses for discrete control
of Mains levels.
1
• Press the encoder under the display showing Mains to assign each Main bus to its own Global Control encoder.
To unlink the Mains:

In the Outputs page, click the on-screen channel Link boxes for
the Left, Center/Mono, and/or Right fader strips so they are
unchecked.
From the Global Control encoders, do the following:
• Press the In switch under the display showing the Main bus
you want to mute so that the switch is unlit.
2
From the channel strips, do the following:
• Bank the Mains to the channel strips.
• Press the channel Mute switch for any of the banked Mains.
The switch lights solid to indicate the channel is explicitly
muted.
Mains Delay
A variable delay (from 0 to 500 ms) can be applied to any of the
Mains. C/Mono delay is always independent, regardless of
linked/unlinked status.
To apply delay to a Main bus:
Unlinking a Mains fader
1
Select one or more Mains busses.
Mains Mute
2
Mains can be muted from the channel strips or from the Global
Control encoders.
Make sure the main Channel Control menu is shown in the
eight Channel Control encoder displays.
3
Press the Channel Control encoder under the display showing
Input.
4
Under the display showing Delay, press the Channel Control
encoder In switch to toggle the channel Direct Output in/out.
5
Adjust the corresponding encoder to set the desired amount of
channel delay.
Channels can be muted in three ways: explicitly with the
channel mute switch; implicitly as a result of another channel being soloed, and as a member of a Mute Group or VCA.
For more information see Chapter 14, “Muting and Mute
Groups”
To control the mute status of linked Main busses from the Global
Control encoders:

Press the In switch under the display showing Mains.
• The In switch LED is lit green when the Mains are
unmuted.
• The In switch LED is unlit when the Mains are muted.
Monitors
Mains
Sel
Sel
Sel
Sel
In
In
In
In
Top
Back
Expnd
Page
Mains Center Divergence Options
When the Main busses are set to L–C–R (Left-Center-Right)
mode, the Center Divergence setting determines the amount of
center-panned signal sent to the center output.
When Center Divergence is set to 100%, a channel panned to
center is sent to the center output only.

 When Center Divergence is set to 0%, a channel panned to
center is sent equally to the left and right outputs only (phantom
center).
A Center Divergence setting between 0% and 100% sends a
center-panned channel to the left, center, and right outputs with
the center channel more prominent as the value increases towards
100%.

To set Center Divergence:
Mains Global Control Encoder In switch indicating that the Mains are
muted
94
S3L System Guide
1
Go to Options > Busses.
2
In the Panning section, click in the Center Divergence field
and drag up/down to increase/decrease the value (or type in a
new value).
3
Press Enter or Return on your keyboard to confirm the setting.
Mains Automatic Delay Compensation
Direct Outputs
You can set the S3L system to automatically compensate for delays incurred by the use of Groups and insertion of plug-ins in the
signal path to the Mains. Delays are automatically applied to signals arriving at the Mains from multiple destinations to maintain
the proper time alignment.
Each Input Channel, FX Return, output bus, and Matrix mixer
features a Direct Output. Each channel Direct Output provides a
discrete level control that can be useful for tasks such as recording to Pro Tools or USB.
To set Delay Compensation:
Assigning Direct Outputs
1
Go to the Options page and click the Pickoffs tab.
2
In the Delay Compensation section, select one of the following
options:
Off No Delay Compensation is applied.
Mix Only VENUE automatically compensates for delays incurred
Direct Outputs are assigned to available hardware outputs on the
Directs tab of the Patchbay page. Each hardware output destination may be fed by only one Direct Output signal (multiple Direct
Output signals cannot be routed to a single output).
To assign a channel to a Direct Output:
by the use of Groups routed to the Mains.
1
Go to the Patchbay page and click the Directs tab.
Mix and Inserts VENUE automatically compensates for delays
2
To the left of the channel grid, click the Channels (Input Channels), FX Returns, or Outputs tab to display those channels in
the grid.
3
Monitoring the Main Mix
Along the top of the channel grid, click any of the following
tabs to display available hardware output destinations:
You can send the Main mix (the signal present on the Main busses) to the Monitor bus to monitor the main mix on headphones or
near field monitors. See “Sending the Main Mix to the Monitor
Bus” on page 134.
• Console
• Engine
• Pro Tools
incurred by the use of plug-ins as well as those incurred by the use
of Groups routed to the Mains.
• Stage 1–4 tabs
4
Click in the channel grid to route the channel or bus (listed on
the left) to an available output (listed across the top).
Assigning a Direct Output in the Patchbay
5
Select the pickoff point for the Direct Output by clicking the
letter to the right of the channel or bus name and choosing
from the pop-up menu. See “Direct Output Pickoff Points” on
page 96.
Selecting a Direct Output pickoff point in the Patchbay
Chapter 8: Outputs and Output Routing 95
Adjusting Direct Outputs
Direct Output Pickoff Points
Up to 12 dB of gain can be added to the Direct Output signal. Direct Output level controls are provided in Channel Control, and
on-screen in the Patchbay page.
To adjust Direct Outputs from Channel Control:
The “pickoff point” is the point in the signal path where the audio
signal is sent to the Direct Output. The pickoff points for Direct
Output signals are selected in the Directs tab of the Patchbay
page. The following pickoff points are available for each type of
channel or bus:
1
Select the input or output channels that you want to control.
Pickoffs for Direct Outs
2
Make sure the main Channel Control menu is shown in the
Channel Control encoder displays.
Press the Back/Top Channel Control Navigation switch to return to the Channel Control main menu.
3
Press the Channel Control encoder under the display showing
Input.
4
Under the display showing Direct, press the Channel Control
encoder In switch to toggle the channel Direct Output in/out.
5
Adjust the corresponding encoder to set the desired amount of
channel Direct Out level.
To adjust Direct Outputs on-screen:
1
Go to Patchbay > Directs.
2
Click a channel name in the column of the grid so it is highlighted. The selected channel is now targeted in the channel
controls to the left of the grid.
3
In the Direct Out section, do the following:
• Click the In button to toggle the Direct Output on/off.
• Click and drag the level control to adjust the Direct Output
level.
Direct Output controls in the Patchbay channel controls section
When a channel is selected, clicking the routing display in
the Direct Out section of the Inputs our Outputs page jumps
the screen view to the Patchbay. The selected channel is
targeted in the Patchbay channel controls.
96
S3L System Guide
Channel Type
Available Pickoff Points
Input-channels and
FX Returns
Top of channel
Insert return
Pre-or post-fader (configured globally)
Outputs
Top of bus
Pre fader
Post fader
Pickoff points for Input Channels and FX Returns are configured
as pre-or post-fader globally.
Configuring Input Channel Pre-or Post-Fader
Pickoff Points
Pickoff points for Input Channels and FX Returns are configured
as pre-or post-fader globally.
To configure the Direct Output pickoff point for Inputs:
1
Go to the Options page and click the Pickoffs tab.
2
Under Input Strip Fader Pickoff Point, click Pre-Fader or
Post-Fader.
VCAs
VCA controls emulate the operation of traditional Voltage Controlled Amplifiers (VCAs). Up to eight VCA faders are available.
Input Channels, FX Returns, and Output channels can be assigned to VCAs.
Inputs and Outputs Pages In the Inputs and Outputs pages, red
“ghost” fader caps appear below the fader displays of channels
that are currently assigned to one or more VCAs.
VCAs control level of the assigned channels only. They do not
act as a summing output bus.
VCAs remotely control the fader gain of each channel assigned to
the VCA fader, but do not change the position of the faders on
those channels. The accumulated gain of a channel belonging to
several VCAs is limited to +12 dB.
Channel levels
Effective
gain (VCAs)
See “Assigning Inputs to VCAs” on page 77 for instructions
on assigning channels to VCAs.
Channel Strips Show VCA Contribution
The effective gain of any channel is equal to the combination of
its individual channel fader, plus any (all) VCA level changes that
affect that channel.
Input and output channels display the net effect of VCA level (effective gain) on-screen. This lets you keep track of what all currently assigned VCAs are doing to channels and busses at all
times.
On-Screen VCA Indication
VCA contribution shown in the on-screen fader displays
The opacity of the ghost caps vary with the actual VCA levels:
• Lighter caps indicate smaller amounts of VCA contribution.
• Brighter caps indicate larger amounts of VCA contribution.
Turning Channel VCA Indication On and Off
By default, channel VCA indication is on. You can turn off VCA
indication on the Options > Interaction page.
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:
Channel level
1
Go to Options > Interaction.
2
In the Displays section, click to enable (or disable) Show VCA
Contribution.
Effective gain (VCAs)
Effective gain (VCA contribution) shown on the selected channel
Chapter 8: Outputs and Output Routing 97
Using VCAs
VCA level and mute status can be controlled from the channel
strips or the Global Control encoders.
To control VCA members from the channel strips:
Automation Safing Output Channels
Automation Safing a channel lets you suspend the effect of snapshots on all parameters of the channel. Output Channel Safe
switches and buttons always operate in Automation Safe mode.
For more information, see “Automation Safe” on page 198.
1
Press Bank switch F. VCAs 1–8 are banked to channel strips
9–16.
2
Move the fader for the VCA whose members you want to adjust.
3
Do any of the following:
You can view, reset, and copy (duplicate) Mains, Groups and
Aux bus assignments.
• To solo VCA member channels, press the channel strip
Solo switch for the desired VCA. The on-screen Solo LEDs
for channels assigned to the VCA flash to indicate they are
soloed by the VCA.
Viewing Aux Bus Assignments
• To mute VCA member channels, press the channel strip
Mute switch for the desired VCA. The on-screen Mute
LEDs for channels assigned to the VCA flash to indicate
they are implicitly muted by the VCA.
To view input assignments to an Aux bus:
Input channel solo mode (PFL or AFL) follows the current
setting on the Options > Busses page.
Managing Bus Assignments
When a bus output channel is targeted on-screen, its members are
shown in the Members list on the right side of the Outputs page.
1
Go to the Outputs page.
2
Select the bus output channel. Input channels routed to the selected bus are displayed in the Members list on the right side of
the page.
To control VCA members from the Global Control encoders:
1
Make sure the Global Control main menu is shown in the
Global Control encoder displays.
Press the Back/Top Global Control Navigation switch to return to the Global Control main menu.
2
Press the encoder under the display showing VCAs. VCAs 1–8
are assigned to the eight Global Control encoders.
3
Under the display showing the VCA you want to adjust, rotate
the corresponding encoder to adjust VCA level.
4
To toggle the mute status of VCA member channels, press the
In switch next to the Global Control encoder for the VCA you
want to mute/unmute.
• The In switch LED is lit green when the VCA is unmuted.
• The In switch LED is unlit when the VCA is muted. The
Mute switches of member channels flash to indicate they
are implicitly muted.
For more information see See “Explicit and Implicit Channel
Mute with Mute Groups and VCAs” on page 139.
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S3L System Guide
Bus assignments shown in the Members list
To go to any assigned input channel from the Outputs page:

Click the name of the input channel in the Members list.
Resetting Bus Assignments
Copying Assignments Between Busses
You can remove input assignments from a Group on-screen.
You can copy the current input assignments from one bus to another bus of the same type. If the busses are linked, assignments
can be copied from other linked busses. This lets you quickly duplicate monitor mixes.
To remove an input assignment from a bus:
1
Select the bus output channel you want to change so that its
members are displayed on-screen.
2
In the Members list, right-click the input assignment you want
to remove and choose Unassign.
Copying Aux bus assignments overwrites all the assignments
on the destination Aux bus.
To copy input assignments between busses:
1
Target the bus that you want to be the destination of the copied
assignments by selecting its on-screen channel strip.
2
Click the Input Assign pop-up menu at the bottom of the Members list, choose Replace With Mix From, then choose the bus
whose assignments you want to copy to the currently selected
bus.
Removing an input assignments from a bus
To remove all input assignments from a bus:
1
Select the bus output channel you want to change so that its
members are displayed on-screen.
2
Click the pop-up menu at the bottom of the Members list and
choose Reset Mix.
Removing all input assignments from a bus
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 assignments 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
copied assignments by selecting its on-screen channel strip.
2
Click the Input Assign pop-up menu at the bottom of the Members 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 follow the state of the corresponding controls on the Input Channels assigned to the Mains: Channel Mute maps to Bus Send, Channel Pan maps to Bus Pan, and
Channel Fader level maps to Bus Send level.
Chapter 8: Outputs and Output Routing 99
Chapter 9: Groups
This chapter shows how to do the following:
• Configure Group busses
• Route Groups to Mains
• Adjust Group output controls
Input Channels and FX Returns can be routed to Groups for
grouped control of input channels. Unlike VCAs, Groups are
summing busses, so plug-ins and outboard processors can be inserted on them. Groups also feature built-in 4-band parametric
EQs and Compressor/Limiters
Group bus outputs can be routed to the Main busses, to available
bus-fed plug-ins, to Matrix mixers, and to any system hardware
outputs.
To route inputs to Groups, see “Routing Inputs to the
Mains and Groups” on page 76.
Routing Groups to Outputs, Plug-Ins,
GEQs, and Built-In Comp/Lim and EQ
You can route Groups to hardware outputs and Direct Outs. You
can also insert plug-ins and built-in Graphic EQs on Groups, and
use the built in Comp/Lim and EQ processors on Groups.
For details, see the following:
Hardware Outputs See “Assigning Busses to Hardware Outputs”
on page 89.
Direct Outs See “Direct Outputs” on page 95.
Inserts See “Using Inserts on Outputs” on page 91.
Graphic EQ See “Inserting Built-In Graphic EQs on Outputs” on
page 92.
Built-In Comp/Lim and EQ See “Using Built-In Comp/Lim and
EQ on Outputs” on page 90.
Configuring Group Busses
Eight Group busses are available. These Group busses can be
globally configured to be mono or stereo as part of the overall
system Bus Configuration setting. See “Configuring Aux and
Group Busses” on page 88.
Adjusting Group Output Parameters
Most Group output parameters can be controlled from the channels strips and the Global Control encoders. Groups can also be
controlled on-screen (see “Adjusting On-Screen Output Controls” on page 92).
Routing Groups to Mains
To use the built-in Comp/Lim and EQ processors on
Groups, see “Using Built-In Comp/Lim and EQ on Outputs” on page 90.
You can route Groups to the Mains on-screen.
To route Group output to the Mains on-screen:
1
Go to the Outputs page and select one or more Groups you
want to route to the Main busses.
You can also use Multi-Select select to route multiple
Groups to the same destination(s).
2
Click the L-R button in the Bus Assign section to toggle the
bus assignment for the selected Group.
Group Output Levels
To control Group output levels from the channel strips:
1
Press Bank switch F. Groups 1–8 are banked to channel strips
1–8. Stereo Group levels are controlled using a single fader.
2
Move a fader to change the output level of the assigned Groups
bus.
Assigning a Group output to the Mains from the Output page
Chapter 9: Groups 101
To adjust Group output levels from the Global Control encoders
1
Make sure the Global Control menu is shown in the Global
Control displays.
Press the Back/Top Global Control Navigation switch to return to the Global Control main menu.
2
Press the Aux/Grp Global Control encoder. Aux outputs 1–8
are assigned to the Global Control encoders.
Aux/Grp
Matrixes
Group Output Mute
To control the mute status of a Group output from the channel
strips:
1
Press Bank switch F to bank Groups to the channel strips.
2
Press the Mute switch on the channel strip for the Group you
want to mute.
To control the mute status of a Group output from Global Control:
1
Assign the Group you want to control to Global Control.
2
Press the In switch next to the Global Control encoder for the
Group you want to mute/unmute.
VC
• The In switch LED is lit green when the Group is unmuted.
Sel
Sel
Sel
Sel
Sel
Sel
Sel
Sel
In
In
In
In
In
In
In
In
Aux/Grp Global Control encoder
3
Press the Page > Global Control Navigation switch until the
Group outputs appear in the Global Control displays.
Grp 1
Grp 2
Grp 3
Master
Master
Master
• The In switch LED is unlit when the Group is muted.
Group Bus Output Pan
Group bus output pan can be controlled from the channel encoders. When pan is assigned to the encoders, the encoders adjust pan
(for mono Groups) or stereo balance and width (for stereo
Groups) of the Group output to the Main busses only. The Group
outputs in the Patchbay are distinct left and right channels.
Groups-to-Mains assignment is shown in each channel display
when Groups are banked to the channel strips. When the channel
encoder is adjusted, pan/balance/width values are shown in the
display.
To control mono Group output pan:
Groups assigned to the Global Control encoders
4
Adjust the Global Control encoder under the display showing
the Group you want to adjust. The level indicator in the display
shows the relative fader level setting for that Group.
1
Bank Groups to the channel strips.
2
Press the Pan Channel Encoder Assign switch to assign control of Group pan to the channel encoders.
3
Turn a channel encoder to adjust the pan for the corresponding
mono Group.
Group Output Solo
To control stereo Group output balance and width:
To control the solo status of a Group bus:
1
Press Bank switch F to bank Groups to the channel strips.
1
2
Press the Pan Channel Encoder Assign switch to assign control of Group balance to the channel encoders.
3
Press a channel encoder Sel switch to assign Group width control to that channel encoder.
4
Rotate an encoder to adjust the width for the corresponding
stereo Group.
Bank the Groups to the channel strips by pressing Bank switch
F.
2
Press the Solo switch on the channel strip for the Group you
want to solo. The switch lights solid to indicate the channel is
explicitly soloed.
You can set Output banking to follow AFL selection, and vice
versa. For more information on Solo bus operation, see
Chapter 13, “Solo and Monitor Busses.”
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S3L System Guide
Group Output Polarity Invert (Phase
Reverse)
Group Bus Signal Flow Options
The polarity of any Group output bus signal can be inverted
(Phase Reverse). With stereo Group busses, only the left channel
is inverted.
Routing Signals to a Mono Group Bus
Configuration
To invert the polarity of a Group from Channel Control:
1
Press Bank switch F to bank Groups to the channel strips.
2
Press the channel Sel switch for the Group you want to control.
3
Make sure the main Channel Control menu is shown in the
Channel Control displays.
Press the Back/Top Channel Control Navigation switch to
return to the Channel Control main menu.
When configured as mono busses, the eight Groups can be fed as
8 unlinked mono busses or up to 4 linked odd/even bus pairs.
Unlinked Mono Busses
To use unlinked mono Group busses:
1
Make sure the Group busses are configured as mono busses.
See “Configuring Aux and Group Busses” on page 88.
2
While routing channels to Group busses, make sure the Stereo
Pan switch is off.
4
Press the Channel Control encoder under the display showing
Input.
The Group switches in the on-screen Bus Assign section light
green to indicate mono operation. In this configuration, input signals are handled as follows:
5
Press the Page > Channel Control Navigation switch to access
the second page of Input parameters.
Mono Input Signals Contributing mono signals are summed to
6
Under the display showing Polarity, press the encoder In
switch to toggle polarity in/out. The switch LED lights green
when the channel’s polarity is inverted (Phase Reverse is enabled).
Stereo Input Signals Contributing stereo signals are summed to
the mono Group bus. Any pan information from mono input
channels feeding the bus is ignored.
the mono Group bus with no attenuation. The balance and width
information from each stereo input channel is ignored.
Group Output Delay
Linked Odd/Even Bus Pairs
A variable delay (from 0 to 500 ms) can be applied to Group busses. With stereo Group busses, delay is applied to both channels.
To use linked mono Group bus pairs:
1
Make sure the Group busses are configured as mono busses.
See “Configuring Aux and Group Busses” on page 88.
2
While routing channels to Group busses, press the Stereo Pan
switch so that it lights yellow.
To apply delay to a Group:
1
Press Bank switch F to bank Groups to the channel strips.
2
Press the channel Sel switch for the Group you want to control.
3
Make sure the main Channel Control menu is shown in the
Channel Control displays.
The Group switches in the on-screen Bus Assign section and the
Stereo Pan LED in the channel’s Bus Assign indicator light yellow to indicate stereo operation. In this configuration, input signals are handled as follows:
4
Press the Channel Control encoder under the display showing
Input.
Mono Input Signals Contributing mono signals are panned
5
Under the display showing Delay, rotate the encoder to set the
desired amount of channel delay.
across the linked odd/even Group bus pair. Pan information from
each mono input channel determines its pan position in the bus
pair.
6
Press the corresponding encoder In switch to toggle channel
delay in/out. The switch LED lights green when channel delay
is on (enabled).
Stereo Input Signals Contributing stereo signals are panned
across the linked odd/even Group bus pair. Balance and width information from each stereo input channel determines its contribution to the odd and even sides of the bus pair.
Chapter 9: Groups 103
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” on page 88.
2
When routing channels to any of the Group busses, the Stereo
Pan switch is lit yellow.
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S3L System Guide
Chapter 10: Auxes and Variable Groups
This chapter shows how to do the following:
4
• Configure Aux and Variable Group busses
Click the checkboxes above any of the bus pairs to link or unlink each pair.
• 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 outputs (for on-stage monitor mixes, for example) and plug-in inputs
(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
Aux Send level controls provide a gain range of –INF to +12 dB.
5
Click Apply.
When busses are linked, signals are handled as follows:
Configuring Aux and Variable Group
Busses
The number of available Aux and Variable Group busses are set
as part of the overall Aux/Group bus configuration. See “Configuring Aux and Group Busses” on page 88.
When the system is set to Variable Groups mode, the eight Group
busses are replaced by Variable Group busses, which operate in
much the same way as Aux busses. When set to Variable Groups
mode, 16 Aux and 8 Variable Group busses provide up to 24 busses.
You can also link Aux/Variable Group busses, select the
pre-fader pickoff point, and classify sends for Snapshots.
You can customize how Aux /Variable Group busses and
AFL soloing interact. See “AFL Follows Auxes” on
page 130.
Linking Aux Busses for Stereo Operation
Mono Input Signals Contributing mono signals are panned
across the linked odd/even Aux bus pair.
• When the Follows Channel Pan option is off, panning of the
mono signal to the bus pair is controlled by the Aux Pan
control (the even-numbered send).
• When the Follows Channel Pan option is on, the pan information from each mono input channel determines its pan
position in the bus pair.
Stereo Input Signals Contributing stereo signals are panned
across the linked odd/even Aux bus pair. Stereo width information from the input channel is applied to the bus signal.
• When the Follows Channel Pan option is off, balance of the
stereo signal to the bus pair is controlled by the Aux Pan
control.
• When the Follows Channel Pan option is on, the balance
from each stereo input channel determines its contribution
to the odd and even sides of the bus pair.
When working with Aux and Variable Group busses, you can link
odd/even bus pairs and pan input signals into those bus pairs.
To link Aux and Var Group bus pairs:
1
Put the system into Config mode.
2
Go to the Options page and click the Busses tab.
3
Click Edit.
Chapter 10: Auxes and Variable Groups 105
Selecting Aux and Variable Group Pre
Pickoff Points
Each input channel Aux or Var Group send can be set as pre- or
post-fader. You can specify the pre-fader pickoff point for Aux
and Variable Group busses.
Pickoff points are set for each bus independently. If any busses
are linked, the pickoff point is set for the linked bus pair. The following pre-fader pickoff points for Aux and Variable groups busses are available:
Pre-EQ Post-HPF and pre-EQ, Dynamics and Channel Inserts,
pre-Mute, and pre-Fader. The Aux or Var Group send is not affected by the channel mute.
Setting a Send to Pre-Fader
To set an Aux or Variable Group send to pre-fader:
1
Go to the Inputs page and select the channel with the Aux send
you want to set to pre-fader.
2
Do any of the following:
• To set an Aux send to pre-fader, click the corresponding
PRE button in the Aux Sends section.
• To set a Variable Group send to pre-fader, press the Stereo
Pan button in the Bus Assign section to display Var Groups,
then click the corresponding PRE button.
Pre-EQ Post-Mute Post-HPF and pre-EQ, Dynamics and Chan-
nel Inserts, post-Mute, and pre-Fader. The Aux or Var Group
send is affected by the channel mute.
Pre-Mute Post-HPF, post-EQ, Dynamics, and Channel Inserts,
pre-Mute, and pre-Fader. The Aux or Var Group send is not affected by the channel mute.
Pre-Fader Post-HPF, post-EQ Dynamics, and Channel Inserts,
post-Mute, and pre-Fader. The Aux or Var Group send is affected
by the channel mute.
To set the pre pickoff point for an Aux or Variable Group send:
1
Go to Options > Busses.
Activating Pre pickoff for an Aux Send (Inputs page shown)
When the Pre button is lit, the selected Pre pickoff point is used.
When the Pre button is off, the pickoff point is Post-Fader.
Classifying Auxes for Snapshots
You can classify Aux Sends and Variable Groups as monitor
sends (“Mon”) or as effects sends (“FX”) for the purposes of
scoping and safing each type separately in snapshots. See “Classifying Aux Sends” on page 211.
Routing Auxes and Variable Groups to
Outputs, EQs, Dynamics and Plug-Ins
You can route Aux and Variable Group busses to hardware outputs and Direct Outs. You can also insert plug-ins and built-in
Graphic EQs on any Aux and Variable Group bus, and use the
built in Comp/Lim and EQ processors on any Aux and Variable
Group bus.
For details, see the following:
Aux bus pickoff points
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
Post Mute, Pre-Mute, or Pre-Fader button.
Effects Send/Return See “Creating an Effect Send/Return” on
page 107.
Hardware Outputs See “Assigning Busses to Hardware Outputs”
on page 89.
Direct Outs See “Direct Outputs” on page 95.
Graphic EQ See “Inserting Built-In Graphic EQs on Outputs” on
page 92.
Inserts See “Using Inserts on Outputs” on page 91.
Built-In Comp/Lim and EQ See “Using Built-In Comp/Lim and
EQ on Outputs” on page 90.
106
S3L System Guide
Creating an Effect Send/Return
5
An effect send/return lets you send signals from multiple Input
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.
From the list, choose Bus Outs > Aux (or Group for a Variable
Group bus), then choose the desired mono Aux or Variable
Group.
To create an effect send:
1
Go to the Plug-Ins page and put your system into Config mode.
2
Click the Plug-In selector on an empty rack slot. (You can also
use an already assigned rack slot to change a plug-in assignment.).
Assigning plug-in Input source to an Aux bus
6
Click the Plug-In Output selector to choose the channel(s) to
return the effect to a channel.
Clicking the Plug-In selector
3
Choose Other, then select a plug-in showing a 1 in, 2 out format.
Plug-in Output selector
7
From the list, choose Channel (Input Channel) or FX Return
from the list. Plug-ins indicated as stereo (2 out) must be returned to a stereo channel.
Plug-In selector menus
For more information, see“Assigning Plug-Ins to Rack
Slots” on page 170.
4
Click the Plug-In Input selector at the top of the corresponding
rack slot to choose the Aux or Variable Group you want to use
as the effect send.
Assigning plug-in output to an FX Return
When a bus-fed plug-in has both its input source and output assigned, it appears similar to the following in the rack:
Clicking the Plug-in Input selector
A bus-fed plug-in in the rack
Chapter 10: Auxes and Variable Groups 107
Adjusting Aux and Variable Group
Send Controls
3
You can adjust mono and stereo-linked Aux and Variable Group
sends using the Channel encoders, Channel Control, and
on-screen controls.
Press a channel encoder under the display showing the sends
you want to assign to the channel encoders. For example, to assign channel send controls for Aux bus 1, press the encoder under the display showing Aux 1.
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 encoders using the Aux Select menu.
Assigning Aux Sends to the Channel Encoders
To assign Aux sends to the channel encoders:
1
Bank Input Channels and/or FX Returns to the channel strips.
2
Press the Aux Channel Encoder Assign switch. The Aux
switch flashes indicating the channel encoders are in Aux Select mode.
Input
HPF
EQ
Comp
Pan
Mix
Pan
Aux
Flip
Channel
Flip
Gain
Channel encoder and display in Aux Select mode
The sends for the selected bus are shown in the channel displays.
Send levels are adjusted using the corresponding channel encoders.
LR
Kick
1
LR
Aux 1
Snare
2
Aux 1
LR
Hats
3
Aux 1
Channel encoders with Aux 1 sends assigned
Dyn
Insert
Group
Aux
4
Press the Page > Channel Encoder Navigation switch to access the next set of Aux sends.
Top
The Aux Select menu (Aux1, Aux 2, Aux 3 and so on) appears in
the channel displays.
Aux 1
Aux 2
Aux 3
Aux Select menu
The number of available busses depends on the overall
Aux/Group bus configuration. See “Configuring Aux and
Group Busses” on page 88.
108
S3L System Guide
Source
Back
Aux Channel Encoder Assign switch
Page
Page
The Page > Channel Navigation switch
Assigning Variable Group Sends to the Channel
Encoders
To assign Variable Group sends to the channel encoders:
1
Bank Input Channels and/or FX Returns to the channel strips.
2
Press the Aux Channel Encoder Assign switch. The Aux
switch flashes indicating the channel encoders are in Aux Select mode.
3
Press the Page > Channel Encoder Navigation switch to access the Variable Group busses.
Adjusting Sends Using Channel Control
When adjusting sends using Channel Control, adjustments made
to sends affect only the selected channel.
To control Aux or Variable Group sends in Channel Control:
1
Bank Input Channels and/or FX Returns to the channel strips.
2
Select one or more channels.
3
Make sure the main Channel Control menu is shown in the
Channel Control displays.
Press the Back/Top Channel Control Navigation switch to
return to the Channel Control main menu.
Grp 1
Grp 2
Grp 3
mpLim
ExpGate
Aux 1-8
Aux 9-16
Var Grps
Variable Group busses in the Aux Select menu
4
Press a channel encoder under the display showing the Variable Group sends you want to assign to the channel encoders.
For example, to assign channel send controls for Variable
Group bus 1, press the encoder under the display showing
Grp 1.
5
Main Channel Control showing Aux and Variable Group encoders
Press the Page > Channel Encoder Navigation switch to access the next set of Variable Group sends.
4
Press the Channel Control encoder under the display showing
Aux 1–8, Aux 9–16, or Var Grou. That group of sends is now
available on the Channel Control encoders
5
Press the Channel Control encoder In switch under the display
showing the send you want to turn on. The switch is lit to indicate that the send is on.
Adjusting Sends on the Channel Encoders
To adjust Aux/Variable Group sends from the channel encoders:
1
Press the channel encoder In switch to turn the send for that
channel on. The switch lights to indicate the send is on.
Kick
LR
Kick
Aux 1
1
LR
Snare
Aux 1
2
LR
Hats
Aux 1
3
1
Aux 2
Aux 3
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)
2
• Rotate the channel encoders as needed. The level indicator
in the display shows the relative send level setting for the
corresponding channel.
– or –
• Press the Flip to Faders switch, then adjust the channel
fader.
3
6
To adjust mono send level in Channel Control, rotate the encoder under the display showing the send you want to adjust.
7
To toggle the Pre/Post status of a send, press the Channel Control encoder Sel for the corresponding send.
8
Select a different channel to adjust its sends in Channel Control.
To adjust mono send level, do either of the following:
To toggle the Pre/Post status of a send, press the channel encoder Sel switch under the display showing the send you want
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.
Chapter 10: Auxes and Variable Groups 109
Adjusting Stereo Sends
Setting Send Pan to Follow Channel Pan
When Aux busses are linked, input signals are panned across the
bus pair. Aux panning can be controlled from the channel encoders or from Channel Control.
Panning of the input signal can be set to follow the pan or balance
values of the Input Channel or FX Return feeding the Aux bus.
To set the Aux Send pan to follow Channel pan:
Using the Channel Encoders
For stereo-linked sends, send level and pan controls are assigned
to the channel encoders separately.
1
Go to Options > Busses.
2
On any linked bus pairs, select the Follows Channel Pan option. This setting is applied globally to the corresponding Aux
or Variable Group Send.
To adjust stereo-linked Aux or Variable Group sends:
1
Bank Input Channels and/or FX Returns to the channel strips.
2
Press the Aux Channel Encoder Assign switch to access the
Aux Select menu. Send and pan appear as odd/even pairs in the
menu.
Aux 1
On-Screen Send Controls
To control Aux/Variable Groups sends on screen:
3
Select one or more Input Channels and/or FX Returns.
4
In the Aux Sends section, do the following:
• Click the On button to turn to the send on.
Aux1Pan
• Click and drag the knob to adjust the send level. The send
level is indicated in the Aux Send display.
Aux send level controls (left) and send pan (right)
3
To adjust level, press the encoder under the display showing
AuxSnd<n> (where <n> is the Aux send channel number).
Send levels to that send pair are assigned to the channel encoders.
4
To adjust pan, press the encoder under the display showing
Aux<n>Pan (where <n> is the Aux send channel number). Pan
to that send pair is now assigned to all 16 channel encoders.
For example, if Aux send 1/2 are linked, press the encoder under Aux1Pan to assign Aux send 1/2 pan control to the encoders.
5
On-screen Aux send level control knob (top) and On button (bottom)
To control Variable Group sends on screen:
1
Select one or more Input Channels and/or FX Returns.
2
In the Bus Assign section, click the Var Groups button to engage Variable Groups. Variable Group sends replace Aux
sends on-screen.
Rotate the channel encoders as needed to adjust pan. Pan settings for indicated in the display.
LR
Kick
1
Aux1Pan
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.
For example, if Auxes 1 and 2 are stereo linked, adjust the encoder under the display showing AuxSnd1 to adjust send level.
To pan a stereo linked send in Channel Control:

110
Rotate the even-numbered encoder for that pair. For example,
if Auxes 1 and 2 are stereo linked, rotate the encoder under the
display showing Aux1Pan.
S3L System Guide
On-screen Aux send level control knob (top) and On button (bottom)
3
In the Var Groups section, do the following:
• Click the On button to turn to the send on.
• Click and drag the knob to adjust the send level. The send
level is indicated in the Aux Send display.
Adjusting Aux/Variable Group Output
Parameters
Aux and Variable Group output parameters can be controlled using the channels strips or the Global Control encoders. Auxes and
Variable Groups can also be controlled on-screen (see “Adjusting
On-Screen Output Controls” on page 92).
To use the built-in Comp/Lim and EQ processors on
Auxes/Variable Groups, see “Using Built-In Comp/Lim
and EQ on Outputs” on page 90.
To create a level offset between linked Aux/Variable Group
outputs:
1
Bank the Aux/Variable Groups busses to the channel strips.
2
Do either of the following:
• Touch one linked output fader while moving the other.
• Hold the Start (Win) key on the keyboard and move one
linked Aux/Variable Group bus fader on-screen.
The offset between the faders is maintained until the offset causes
a fader to reach its maximum or minimum value.
Aux/Variable Group Output Levels
Aux/Variable Group Output Solo
Aux and Variable Group output levels can be controlled from the
channel strips and the Global Control encoders. Level offsets can
be created between linked Aux/Variable Group bus outputs.
You can solo Aux/Variable Group busses from the Global Control encoders, letting you retain access to input channels on the
channel strips. This is helpful when mixing monitors using the
S3L system. Aux and Variable Group busses can also be soloed
from the channel strips.
To control Aux output levels from the channel strips:
1
Press Bank switch E. Aux outputs 1–16 (or 1–8 depending on
your bus configuration) are banked to the channel strips.
2
Move a fader to change the level of its assigned output.
With linked Aux/Variable Group busses, moving one fader affects the level of both linked output busses.
To solo an Auxes/Variable Groups from the Global Control
encoders:
1
Assign the Aux or Variable Groups you want to control to the
Global Control encoders.
2
Double-press the encoder Sel switch to solo that Aux/Variable
Group. The Sel switch flashes to indicate the bus is soloed.
3
To disengage solo, press the Sel switch again once so that it is
unlit.
To control Variable Group output levels from the channel strips:
1
Press Bank switch F. Variable Group outputs 1–8 are banked to
channel strips 1–8.
2
Move a fader to change the level of its assigned output.
To control Aux and Variable Group output levels from the Global
Control encoders:
1
Make sure the main Global Control menu is displayed in the
Global Control encoder displays.
2
Press the encoder below the display showing Aux/Grp. Aux
outputs 1–8 are assigned to the eight Global Control encoders.
3
Do any of the following to adjust the Aux bus output level:
• Press the encoder In switch to turn the Aux bus on. The
switch LED lights green when the bus is on (unmuted).
To solo an Aux/Variable Group from the channel strips:
1
Bank the desired Aux/Variable Group busses to the channel
strips.
2
Press the Solo switch on the channel strip for the bus you want
to solo. The switch lights solid to indicate the channel is explicitly soloed.
You can set Output banking to follow AFL selection, and vice
versa. For more information on Solo bus operation, see See
“Configuring Solo and Monitor Options” on page 130.
• Rotate the encoder to adjust the output level for the Aux bus
shown in the corresponding display.
• Press the encoder Sel switch to target that Aux bus for editing in Channel Control or on-screen.
4
Do the following to access additional Aux/Variable Group outputs, depending on the current global Bus Configuration setting:
• Press the Page > Global Control Navigation switch to access Aux outputs 9–16 on the Global Control encoders.
• Press Page > again to access Variable Group outputs 1–8.
Chapter 10: Auxes and Variable Groups 111
Aux/Variable Group Output Mute
Aux/Variable Group Output Delay
Aux and Variable Group busses can be muted from the channel
strips and the Global Control encoders.
A variable delay (from 0 to 500 ms) can be applied to Aux and
Variable Group busses from Channel Control. With linked busses, delay is applied 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
strips.
1
Bank the desired Aux/Variable Group busses to the channel
strips.
2
Press the Mute switch on the channel strip for the bus you want
to mute. The switch lights solid to indicate the bus is explicitly
muted.
2
Press the channel Sel switch for the bus you want to control.
3
Make sure the main Channel Control menu is shown in the
Channel Control displays.
4
Press the Channel Control encoder under the display showing
Input.
Assign the Aux or Variable Groups you want to control to the
Global Control encoders.
5
Under the display showing Delay, rotate the encoder to set the
desired amount of channel delay.
Press the In switch next to the Global Control encoder for the
Aux/Variable Group you want to mute/unmute.
6
Press the corresponding encoder In switch to toggle channel
delay in/out. The switch LED lights green when channel delay
is on (enabled).
To control the mute status of an Aux /Variable Group bus from the
Global Control encoders:
1
2
• The In switch LED is lit green when the Group is unmuted.
• The In switch LED is unlit when the Group is muted.
For more information on muting and Mute Groups, see
Chapter 14, “Muting and Mute Groups.”
Aux/Variable Group Output Polarity Invert
(Phase Reverse)
The polarity of any Aux and Variable Group output bus signal
can be inverted (Phase Reverse) from Channel Control. With
linked busses, polarity invert applies to both channels.
To invert the polarity of an Aux/Variable Group bus from a
channel strip:
1
Bank the desired Aux/Variable Group busses to the channel
strips.
2
Press the channel Sel switch for the bus you want to control.
3
Make sure the main Channel Control menu is shown in the
Channel Control displays.
4
Press the Channel Control encoder under the display showing
Input.
5
Press the Page > Channel Control Navigation switch to access
the second page of Input parameters.
6
Under the display showing Phase Reverse. press the encoder
In switch to toggle polarity in/out. The switch LED lights
green when the channel’s polarity is inverted (Phase Reverse is
enabled).
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S3L System Guide
Chapter 11: Matrix Mixers
This chapter shows how to do the following:
The S3L system provides eight mono (or up to four pairs of stereo-linked) Matrix mixers for setting up alternate mixes, fill and
delay feeds, and cue, monitor or press mixes.
• Configure Matrix mixers
• Assign input sources to Matrixes
Each of the eight available Matrix mixers can receive up to 12
channels of input. Input sources can be any combination of
Auxes, Groups or Mains 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.
• Adjust Matrix input controls
• Adjust Matrix output controls
3
2
1
4
8
6
5
7
A Matrix Mixer on the Outputs page
1 – Matrix Mixer Tab
5 – Matrix User Assign Button
2 – Matrix Inputs
6 – Matrix Reset/Clear Selector
3 – Matrix Input Source Selectors
7 – Currently Selected Matrix Mixer
4 – Matrix Input Controls
8 – Matrix Mixer Output Controls
Chapter 11: Matrix Mixers 113
Configuring Matrix Mixers
The 12 inputs for each Matrix mixer can be any combination of
the following potential sources:
• 24 shared Aux and Group sources
Linking and Unlinking Pairs to form
Stereo Matrix Outputs
The eight mono Matrix mixers can be linked in odd/even pairs to
form up to four stereo-linked pairs of matrix outputs. A combination of mono and stereo-linked Matrix mixers is possible.
• 3 Mains sources (LCR or LR+M)
Linking Matrixes is accomplished using the same Edit and
Apply methods used for stereo linking Auxes.
• 8 User Input sources
User Inputs can be individual Input Channels or FX Returns, any
analog or digital hardware audio inputs, inputs from a connected
USB flash drive (via the Media > Playback page), or inputs from
Pro Tools.
• Each Matrix mixer provides up to eight assignable User Inputs.
• Input source assignments and user input assignments can be
stored on a per-snapshot basis.
To stereo-link Matrixes:
1
Put the system into Config mode.
2
Go to Options page and click the Busses tab.
3
In the Matrix section, click Edit.
4
Click to enable the Link between any two adjacent (odd/even)
Matrixes.
• The input sources for Matrix mixers are configured as Preor Post-Fader in the Pickoffs tab of the Options page.
• Input labels (1–8, Left, Right, C/Mono and User) are only
intended as a guide. In use, any input source can be assigned to any mixer input (for example, Left doesn't always
have to be assigned to the Left input of a mixer).
Editing the link status of a Matrix pair in the Options > Busses page.
5
Click Apply. (Click Cancel to exit Edit mode without changes.)
Configuring Aux, Group and Mains
Pickoffs
When a matrix pair is linked, the even-numbered channel inherits
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:
1
• A Pan control is added to each matrix mixer input source.
Put the system into Config mode.
Configuring pickoff points may cause a momentary loss of
audio, and therefore cannot be changed in Show mode.
2
Go to the Options page and click the Pickoffs tab.
3
Under Matrix Sources, configure Aux, Groups and Mains (LCR
or LR+M) as pre- or post-fader.
• All input sources are panned center upon linking.
Plug-in assignments to the formerly mono matrix channels are
lost, including all snapshot references.
Unlinking Matrixes
To unlink a pair of Matrixes:
1
Put the system into Config mode.
2
Go to Options > Busses.
3
Click Edit in the Matrix section.
4
Click to unlink the desired Matrixes.
5
Click Apply.
When a Matrix pair is unlinked the even-numbered channel again
inherits all parameter settings of the odd-numbered channel, including built-in 4-band EQ and Comp/Lim settings.
Pre-existing plug-in and GEQ routing may be affected when the
matrix link state is changed. An alert dialog warning of data loss
is shown prior to performing the link or unlink operation. Click
OK to complete the link operation, or click Cancel to cancel without changes.
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S3L System Guide
Snapshots
All matrix settings, including Pan but excluding the stereo link
status, are stored and recalled with snapshots. The stereo link status of Matrix outputs is not snapshottable.
Compatibility
Show files created in previous versions of software preserve all
mono matrix settings in working memory and snapshots. Loading
a Show file containing stereo-linked Matrixes in a previous version of software preserves all data except Matrix output link status.
Settings
You can copy and paste settings between mono and stereo Matrixes, and use the Replace with Mix command, by right-clicking
on the Matrix and choosing Copy, Paste, or Replace with Mix
from the menu.
Linking and Unlinking Adjacent Matrix
Inputs
Adjacent inputs to Matrix mixers can be linked or unlinked on a
per input pair basis. Link status can be specified on a per Matrix
basis (for example, inputs 1 and 2 can be linked for Matrix 1, but
unlinked for Matrix 2). This gives you the ability to control inputs
as either a stereo-linked pair or as independent mono inputs.
• When linked, level and source on/off controls are linked.
• When unlinked, discrete level and on/off controls affect
each individual channel.
Stereo inputs (such as stereo groups, Mains LR, and stereo-linked
auxes) are linked by default, such as after a Clear Console operation. Adjacent inputs can be linked or unlinked at any time, in
Config or Show mode.
To link or unlink inputs to Matrix mixers:
1
Go to the Outputs page and select a Matrix mixer to display
that Matrix on-screen.
2
Click the checkboxes below any adjacent inputs to link or unlink them. A check mark in the checkbox indicates a linked input source; an empty checkbox indicates unlinked sources.
Copy and Paste
Copy/paste only applies to output strip settings (fader, mute, polarity, delay, direct out). Mix parameters and mix sources are handled separately.
Replace
You can use the right-click menu to Replace mixer settings between mono and stereo Matrixes.
.
From
To
Result
Mono
Mono
All mix parameters and mix
sources applied
Mono
Stereo
All mix parameters and mix
sources applied; Pans default to
center
Stereo
Stereo
All mix parameters and mix
sources applied
nels. This offset is not maintained if both linked controls are adjusted beyond their maximum or minimum.
Stereo
Mono
All mix parameters and mix
sources except pan applied
On/Off Each channel maintains its discrete on/off state at the time
Matrix link controls
Relinking and Offsets
When inputs are relinked, their level and on/off state will change
as follows:
Level Each channel maintains any offset between the two chan-
the sources are relinked. For example, if one channel is on and the
other is off the stereo input will maintain these settings after
relinking, thus providing a stereo source with one channel on, and
the other off. Toggling one channel from Off to On results in both
channels switching On; toggling one of the linked channels from
On to Off results in both channels switching Off.
Chapter 11: Matrix Mixers 115
Configuring User Inputs
Assigning Input Sources to Matrixes
Each Matrix mixer can have its own set of eight assignable User
Inputs. User Inputs for each Matrix are configured in the User Assign panel of the Matrix Mixer tab.
To assign input sources to a Matrix mixer:
1
Go to the Outputs page and select a Matrix mixer.
To configure the User Inputs for a Matrix mixer:
2
Click the Input Source selector at the top of each Matrix channel and select the desired input source. Choices include Auxes,
Groups, Mains and any of the eight available User Inputs.
1
Go to the Outputs page and select a Matrix mixer to display
that Matrix on-screen.
2
Click the User Assign button to display the User Assign panel
for that Matrix mixer.
Choosing an Input Source for a mixer
To use Input or FX Return channels in a Matrix mixer, assign
them as User Inputs, then assign those User Inputs as input
sources. For more information, see “Configuring User Inputs.”
Assigning Sources to Multiple Mixers
You can select multiple Matrix mixers simultaneously and assign
sources to all selected mixers at the same time.
User Assign panel
3
For any of the eight available User Inputs, click the on-screen
Source pop-up menu and select an available source. Choices
include:
• Input Channels and FX Returns (if available)
• Stage, Engine, and Console audio inputs
• Inputs from Pro Tools
Choosing a User Input source for a Matrix mixer
4
Click the Pickoff pop-up menu to choose the desired pickoff
for any Input Channel or FX Return:
• Top of Channel (for Input Channels) or Top of FX Return
(for FX Returns)
• Insert Return
• Pre/Post-Fader
The Pre/Post-Fader pickoff point is set globally in the Input
Channel Fader Pickoff section of the Options > Pickoffs page.
5
116
Click the User Assign button again to return to the main Matrix
screen.
S3L System Guide
To assign input sources to more than one Matrix mixer at a time:
1
Go to the Outputs page and use Multi-Select (or the Shift key)
to select two or more Matrix mixers in the fader display at the
bottom of the screen.
2
Click the Source selector at the top of a mixer channel (1–8,
Left, Right, C/Mono, or User) and select the desired source.
Adjusting Matrix Mixer Input Controls
Input sources for the Matrix Mixers can be controlled from the
Global Control encoders or on-screen.
Matrix Input Level
On-Screen Matrix Input Controls
To control Matrix input source (“send”) levels on-screen:
1
Go to the Outputs page and select the Matrix mixer.
2
Click the Matrix Mixer tab to display the Matrix input controls.
To control Matrix input source levels from the Global Control
encoders:
1
Make sure the Global Control main menu is displayed in
Global Control.
2
Press the encoder below the display showing Matrixes. Matrix
outputs 1–8 are assigned to the eight Global Control encoders.
3
Press the encoder below the display showing the Matrix you
want to control. The first eight inputs to that Matrix mixer are
assigned to the eight Global Control encoders.
4
Matrix Mixer tab
3
• Click the On button to turn that Matrix mixer input source
on or off.
Do any of the following to control each mixer input:
• Press the encoder In switch to turn that Matrix mixer input
source on or off. The switch is lit green when the input is on.
• Click and drag the level knob to set the level for the input
source. Source input levels are indicated in the on-screen
Matrix Mixer level meters.
• Turn the encoder to set the level for the input source. Source
input levels are indicated in the on-screen Matrix Mixer
level meters.
5
To control source inputs 9–12, press the Page > Global Control Navigation switch to assign those sources to the encoders.
6
Do either of the following to navigate out of the Matrix sends:
Do any of the following to control each mixer input:
• For stereo-linked Matrixes only, click and drag the pan
knob to the left to pan the input source to the left (odd-numbered) Matrix mixer, and to the right to pan the input source
to the right (even-numbered) Matrix Mixer.
• To return to the Matrix outputs press the Back/Top Global
Control Navigation switch once.
• To return to the main Global Control menu, press the
Back/Top Global Control Navigation switch twice.
Matrix Mixer Input Pan
Matrix mixer input pan controls adjust the panning of each Matrix mixer input across the stereo outputs of a stereo-linked Matrix mixer.
To control Matrix send pan from the Global Control encoders:
1
Assign the Matrix mixer input source to Global Control for the
stereo Matrix you want adjust.
2
Press the encoder Sel switch to assign send pan control to the
encoder.
3
Adjust the encoder to adjust pan.
On-screen Matrix input pan control knob (top), level control knob
(middle) and On button (bottom)
Resetting Matrix Mixer Input Paramters
You can reset level, pan and stereo link settings for any matrix
mixer. Input source assignments persist.
To reset a Matrix mixer parameter to its default value:
1
Select one or more Matrix mixers you want to change.
2
Right-click the encoder on-screen and choose Reset.
• Rotate to the left to pan the input source to the left
(odd-numbered) Matrix mixer.
To reset all Matrix mixer parameters to their default values:
1
• Rotate to the right to pan the input source to the right
(even-numbered) Matrix Mixer.
Select one or more Matrix mixers you want to change.
2
Click the pop-up menu at the bottom of the mixer area and
choose Reset Mix.
Resetting a mix
Chapter 11: Matrix Mixers 117
Clearing Matrix Mixer Settings
You can clear mixer input assignments to quickly set all the input
sources to None.
To clear Matrix input assignments:
1
Select one or more Matrix mixers you want to clear.
2
Click the pop-up menu at the bottom of the mixer area and
choose Clear Mix Sources.
Copying Matrix Mixer Input Settings
You can copy mixer settings from one Matrix mixer to another
mixer of the same type. This lets you quickly duplicate monitor
mixes or other signal feeds.
Copying mixer settings overwrites all the settings on the destination mixer.
Adjusting Matrix Mixer Output
Controls
Matrix Mixer outputs can be controlled using the Global Control
encoders, or on-screen.
To use the built-in Comp/Lim and EQ processors on Matrixes, see “Using Built-In Comp/Lim and EQ on Outputs”
on page 90.
Matrix Mixer Output Levels
To control mixer output levels from the Global Control encoders:
1
Make sure the Global Control main menu is displayed in the
Global Control encoder displays.
2
Press the encoder below the display showing Matrixes. Matrix
output 1–8 are assigned to the eight Global Control encoders.
To copy settings between mixers:
1
2
3
Select the Matrix mixer that you want to be the destination of
the copied settings so that it is displayed on-screen.
Aux/Grp
Click the pop-up menu at the bottom of the mixer area and
choose Replace With Mix and Mix Sources From.
Choose the Mtx (Matrix mixer) from the sub-menu whose settings you want to copy to the current mixer.
Delay Compensation with Matrix Mixers
VENUE automatically compensates for the delay offsets that can
arise when combining different signal paths within a Matrix
mixer.
Additional Information about Delay Compensation
• The overall latency through a Matrix is determined by the
path with the highest latency.
• All inputs within a Matrix mix are guaranteed to be phase
accurate, but mixes are not necessarily aligned to each
other. This ensures that all mixes are not penalized in the
case of one or more exceptionally high-latency signal paths.
• Delay compensation only accounts for a channel’s post-insert pickoff. Channels that feed User Inputs and Auxes
(pre-insert) will not be fully compensated for.
Matrixes
VCAs
Monitors
Sel
Sel
Sel
Sel
Sel
Sel
Sel
Sel
In
In
In
In
In
In
In
In
Matrixes Global Control encoder
3
Rotate the corresponding encoder to adjust the output level for
the Matrix mixer.
Matrix Mixer Select
Matrix Mixers can be targeted for processing in Channel Control
or on-screen. Processing applies to all linked Main busses.
To target a Matrix Mixer for processing:
1
Assign Matrixes to Global Control.
2
Press the Global Control encoder Sel switch under the display
showing the Matrix output you want to adjust.
Matrix Mixer Output Mute
To control the mute status of a Matrix Mixer from Global Control:
1
Assign Matrixes to the Global Control encoders.
2
Press the Global Control encoder In switch for the Matrix you
want to mute/unmute.
• The In switch LED is lit when the bus is unmuted.
• The In switch LED is unlit when the bus is muted.
For more information on Mute operation, see Chapter 14,
“Muting and Mute Groups.”
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S3L System Guide
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
Press the Global Control encoder Sel switch under the display
showing the Matrix output you want to adjust.
3
Make sure the main Channel Control menu is shown in the
Channel Control displays.
4
Press the Channel Control encoder under the display showing
the processing function you want to adjust.
Snapshot Data and Parameters for
Matrix Mixers
Snapshots can store and recall all source assignments of each matrix mixer when the Matrix (“Mtx”) data type is scoped. In addition, all User Input assignments are stored, letting you reconfigure Matrix mixers and User Input assignments on a per snapshot
basis, if desired.
The following table describes what can be stored and recalled in
each snapshot when the MTX data type is scoped.
Table 2. Snapshot data types and parameters for Matrix mixers
Snapshot
Data Type
Included Parameters (for Each Scoped
Channel Strip)
MTX
Mixer Input Sources, User Input Assignments
(global to all Matrixes), and pickoffs; Mixer Input
level, Mixer Input on/off state and Mixer Input Link
state
The link state of Matrix outputs cannot be stored in snapshots.
The Recall Safe tab of the Snapshots page provides two data
“Mix” data types that let you discretely “safe” source and/or user
input assignments to prevent them from being changed with a
snapshot recall.
For complete information on VENUE snapshots, see Chapter 20,
“Snapshots.”
Chapter 11: Matrix Mixers 119
Chapter 12: Patchbay
The Patchbay is used to assign Input and Output Channels, Direct Outputs, and Inserts to hardware inputs and outputs. The Patchbay
also provides on-screen controls for the currently selected channel, 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 indicator, 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 target the Patchbay for immediate access. See “View Mode Switch 1 and 2 Assignments” on
page 65.
Overview of the Patchbay
The Patchbay screen lets you patch hardware I/O to input and output channels. The Patchbay consists of the following sets of tabs and
controls:
1
2
4
5
3
Patchbay page (Inputs tab shown)
1 – I/O Tabs
4 – Patching Grid
2 – Hardware Tabs
5 – Channel Controls
3 – Channel Type Tabs
Chapter 12: Patchbay 121
I/O Tabs
Channel Controls
Click to display and patch Inputs, Outputs, or Directs (Direct
Outputs). Other options in the Patchbay screen change to reflect
the currently selected I/O tab.
These controls mirror the controls for the currently selected channel. For example, when showing Inputs, the Channel controls let
you adjust input gain, polarity, phantom power, HPF, Direct Out,
input source, and fader level without leaving the Patchbay.
Hardware Tabs
Click these tabs to display the hardware inputs and outputs available for the current I/O and Channel Type. These tabs represent
the physical inputs and outputs of the system, as follows:
Direct Output levels are adjusted from the Directs tab of
the Patchbay. See “Adjusting Direct Outputs” on page 96.
Visual Indicators and Displays
)
Hardware Tabs
Physical I/O
Stage 1–4
Stage 16 analog and AES digital I/O
Engine
E3 engine analog and AES digital I/O, USB
2-track playback inputs (USB), and built-in
Oscillator (Osc) inputs
Console
Console analog mic and line I/O
Pro Tools
S3L system I/O from and to Pro Tools
Available hardware inputs and outputs are based on channel type
selection, system configuration and hardware device status. See
“Unavailable I/O” on page 122.
Channel Type Tabs
Click these tabs to select and display specific types of channels,
as available for the currently selected I/O. The following table
shows the available Channel Types for the current I/O.
I/O Tab
Channel Types available
Inputs
Channels, FX Returns
Outputs
Mains, Matrix, Auxes, Groups
Directs
Channels, FX Returns, Outputs
Inserts
Channels, FX Returns, Outputs
Patching Grid
The Patching Grid shows hardware I/O across the top, and system
channels down the left side. The available channel tabs and
choices are determined by the currently selected I/O tab and
Channel type(s). The grid squares represent patch points between
hardware I/O and VENUE mixing channels.
By default, hardware inputs are routed in a 1-to-1 pattern to input
channels resulting in Stage inputs 1–48 (or 1–64) appearing on
Input Channels 1–16 (Bank A), 17–32 (Bank B) and so on.
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S3L System Guide
The Patchbay uses the following visual display conventions in all
its tabs and pages.
Unavailable I/O
The Patchbay displays hardware tabs for all possible configurations. For example, if your current configuration includes two
Stage 16 boxes, four Stage tabs still appear in the Patchbay. The
I/O for the unconnected (or unassigned) Stage IO boxes, however, is not available.
The Patchbay patching grid indicates I/O that is offline or unavailable in the following ways, depending on the hardware I/O:
Stage I/O Unavailable Stage I/O appears grayed out in the Patchbay under its corresponding hardware tab, and is italicized in all
routing pop-up lists.
Pro Tools I/O When a Pro Tools computer is connected to the
S3L system, system input channels with Stage inputs assigned to
them are highlighted in purple under the Pro Tools hardware tabs
in the Patchbay. This indicates that the Pro Tools I/O channels are
reserved for use as direct digital splits to Pro Tools (outputs) or
Virtual Soundcheck channels (inputs).
When a Pro Tools computer is not connected to S3L, all
Pro Tools I/O is grayed out and unavailable in the Patchbay.
Assigned I/O
When a hardware connection is assigned, its connection is
dimmed in all Patchbay screens. This lets you see which hardware connections are in use without having to switch back and
forth between Patchbay screens. You can also use the dimmed
column number indicator to jump to the Patchbay page for the existing assignment (for more information, see “Shortcut for Locating Assignments” on page 126).
The VENUE Standalone software provides additional display
options for hardware I/O (including unavailable I/O). See
Chapter 23, “Using the Standalone Software.”
Text Display of Patch Source and Destination
Type Text Search
Above the grid are “from” and “to” text display fields that display
the full text names of hardware I/O and channels.
Type Text search lets you use the keyboard for fast navigation to
a channel. You can enter the first characters of a channel name or
the absolute channel number to target that channel.
To view full names of a patch source and destination:

Place the cursor over a Channel Name. If the channel is already routed, its source and destination assignment appear directly above the Patching Grid, as shown below.
To search for and select a channel:
1
Type the first few letters, full name, or channel number of the
channel. For example, type “s” to go to the first channel beginning with the letter s (such as Snare).
2
Press the Tab key to cycle through and select any other channels beginning with that letter (such as Snare Top, Snare Bottom, or Strings).
Avoid giving channels names that begin with numbers different from the absolute channel number. When you type a number, VENUE navigates to absolute channel numbers regardless of the channel name.
Channel source (left) and destination (right) display
An asterisk at the end of a destination name indicates a multiple
output assignment. See “Multiple Input and Output Assignments
in the Patchbay” on page 125.
Naming Channels from the Patchbay
Channel names can be changed from the Patchbay. Channel
names can be up to 32 characters in length. When shown in the
displays on the S3 control surface, names are abbreviated to fit
the displays.
To name or rename a channel from the Patchbay:
1
Double-click the channel name at the top of the screen or in the
column of the grid.
Navigating the Patchbay
Navigating to Channel Types
The Patchbay uses multiple pages to access different hardware
I/O and channel types. For example, the Inputs screen provides
Channels and FX Returns pages for you to patch these different
channel types independently.
Examples
To show Inputs:

Go to the Patchbay page and click the Inputs tab.
To show a specific type of Input in the Patching grid:

In the Patchbay page, click the Channels tab or the FX Returns
tab. Shift-Click to select and show multiple types at once.
To navigate to a different hardware source:

Click the appropriate hardware tab across the top of the patching grid.
Naming and Input Channel from the Patchbay
2
Type a new name and press Enter on the computer keyboard.
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.
Chapter 12: Patchbay 123
Scrolling in the Patchbay
To scroll through the channel list (vertically):

Move the cursor over a channel name 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):

Move the cursor over a hardware I/O channel at the top of the
Patching Grid, then press the Left or Right Arrow keys on the
keyboard.
Assigning Channels in the Patchbay
Channels can be assigned using the mouse or the arrow keys on
the keyboard. Channels can also be unassigned
Using the Mouse to Assign Channels
To assign channels in the Patchbay:
1
To scroll the Patching Grid, do one of the following:

Click the up/down or left/right Patching Grid scroll arrows to
move square by square.

Click the up or down Patching Grid double arrows to move
screen by screen.

Right-click in the Patching Grid and drag in any direction.
Go to the Patchbay page and click the appropriate I/O tab,
Channel Type tab, and hardware tab.
Shift-click any number of Channel Type and/or Hardware
pages to select and display multiple pages in the Patching
Grid.
2
Place the cursor over the Patching Grid. The cursor changes to
a crosshair, and lines extend above and to the left of the current
cursor location to identify the column and row in which it is located.
3
Click in the row for the channel and in the column for the hardware I/O source. The destination crosspoint sets the targeted
channel.
Scrolling the Patching Grid by right-clicking and dragging
Assigning a hardware input to an Input Channel
4
To assign multiple channels in a single action, do either of the
following:
• Click and drag vertically, horizontally, or at an angle to assign multiple patch points in a single action.
• Click the Default Assignment button and click Assign in the
confirmation dialog to assign all Stage inputs currently displayed in the channel grid to multiple consecutive Input
Channels.
Clicking the Default Assignment button
5
Repeat as needed. If the new assignments steal any previous
assignments, a warning dialog will ask you to confirm or cancel the reassignment.
To suppress the reassignment warning dialog, hold Default
(on the S3 control surface) or Alt (on the computer keyboard)
while clicking in the patching grid. For more information, see
“Warning when Stealing Inputs or Outputs in the Patchbay”
on page 126.
124
S3L System Guide
Unassigning and Clearing Assignments
To unassign a single channel in the Patchbay:

Place the cursor over an assigned channel in the Patching Grid
and click.
Multiple Input and Output Assignments in
the Patchbay
A single hardware input source can be assigned to multiple Input
Channels or FX Returns in the Patchbay. An output bus can be assigned to multiple hardware outputs.
To clear Patchbay Assignments:
1
Click the appropriate I/O tab, Channel Type tab, and Hardware
tab.
To clear all Input, Output, Direct, or Insert assignments,
shift-click all Channel Type and Hardware tabs to select
all pages.
2
In the top left corner of the patching grid, Click the Clear Assignments button, and click Clear in the ensuing dialog. All
Patchbay assignments for the selected Patchbay pages are
cleared.
Multiple input sources cannot be assigned to a single Input
Channel or FX Return.
To assign a hardware input source to multiple Input Channels or
FX Returns:
1
Go to the Patchbay page and click the Inputs tab.
2
Click in the patching grid to assign the source to the first Input
Channel or FX Return.
3
Click additional grid squares in the same column to assign the
source to additional channels. The selected hardware input is
routed to each of the assigned Input Channels or FX Returns.
Clicking the Clear Assignments button
3
Repeat for other types of I/O as necessary.
Using the Arrow Keys to Assign Channels
You can also use the Arrow keys instead of the trackball to assign
routing.
To route channels using the Arrow Keys on the keyboard:
1
2
3
Place the cursor over the Patching Grid so that the cursor
changes to the crosshair.
A hardware input routed to multiple Input Channels
To assign an Output bus to multiple hardware outputs:
Press the Left or Right Arrow keys to move the crosshair to the
next or previous hardware I/O column; press the Down or Up
Arrow keys to move the cursor to the next or previous channel.
1
Go the appropriate Patchbay page and click the Output tab.
2
Click in the Patching Grid to assign the Output bus to the first
hardware output.
When the crosshair is over the correct square in the grid, press
Enter to assign the patch.
3
Click additional grid squares in the same row to assign the
same Output bus to additional hardware outputs. The selected
bus is assigned to all the assigned hardware outputs. An asterisk (*) appears at the end of the displayed destination to indicate the multiple routing.
An Output bus assigned to multiple hardware outputs
Chapter 12: Patchbay 125
Warning when Stealing Inputs or
Outputs in the Patchbay
The Patchbay indicates hardware outputs that are already in use
by dimming the column number for that physical output. In addition, a dialog is shown if the patch will steal a hardware input or
output that is already in use, asking you to confirm or cancel the
reassignment.
To confirm a reassignment, do one of the following:

Patch List Export
The Patchbay export generates a patch list in an easily readable
format.
To export Patchbay information:
1
Insert a USB storage device into any USB port on the E3 engine.
2
Go to the Patchbay page and click the Export button.
Click Assign when prompted to confirm the reassignment.
– or –

Click again on the same patch point.
To cancel a reassignment, do either of the following:

Click Cancel to leave the patchpoint unchanged.
Patchbay Export Information button

Click any other point in the grid (the Patchbay grid remains active, even when the Confirm Assignment dialog is open
on-screen).
3
Do any of the following:
• If you have more than one USB device connected, make
sure the correct USB one is selected. If it is not, click Next
Disk to cycle through until the correct one is selected.
• Click Save to export info to the selected USB device.
• Click Cancel to dismiss the dialog without exporting.
4
Warning when reassigning an output that is already in use
To suppress the reassignment warning dialog, hold Default
(on the S3 control surface) or Alt (on the computer keyboard)
while clicking in the patch grid to change the assignment.
Shortcut for Locating Assignments
Before reassigning in the Patchbay, you may want to double-check the existing assignment to the desired hardware output.
This can be done quickly 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
top of the Patchbay. The Outputs page containing the assignment is automatically revealed in the Patching Grid.
Clicking a column number to “go to” its current assignment
126
S3L System Guide
Click OK to confirm the export procedure. You can now remove the USB device and transfer the exported file to a personal computer for printing, formatting, and distribution.
When exporting a Patch list from the Standalone software,
the generated HTML file is automatically opened using your
default Internet browser (such as Internet Explorer, Mozilla
Firefox or other).
Contents of Exported Patchbay
Information
Exported Patchbay information is saved as an HTML file, and the
file name includes the date and time of the export. Contents include 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 Hardware output numbers (1–12) and channel
numbers or names are shown for each Stage 16 box.
Engine Inputs and Outputs Hardware input/output 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 channels are labeled N/A.
• Direct outs are identified uniquely.
Chapter 12: Patchbay 127
Chapter 13: Solo and Monitor Busses
This chapter shows how to do the following:
• Select a Solo mode (PFL, AFL, or SIP)
• Configure Solo and Monitor bus option
• Use solo
Solo In Place (SIP)
SIP mode applies to Input Channels and FX Returns only. Solo In
Place sends the signal from the soloed channel to the Main and
Monitor busses. Signal is sent post-pan/balance.
• Solo safe input channels
In SIP Solo mode, the soled channel(s) is (are) sent directly to the Main busses. Use this feature only at soundcheck.
• Use the monitor bus
• Adjust the Headphone and Monitor bus level
• Use the built-in Oscillator, talkback, and 2-track circuits
Selecting a 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.
To select the Solo mode on-screen:
1
Go to the Options > Busses page.
2
Under Solo and Monitor Operations, click the Type pop-up and
choose the desired Solo mode.
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.
Mono input signals are sent to both sides of the Solo bus, and the
left and right sides of stereo input signals are sent to the corresponding sides of the Solo bus.
Type pop-up menu under Solo & Monitor Operations
PFL is the default Solo mode.
Solo States and Modes when Loading
Shows
After-Fader Listen (AFL)
Channel Solo States When you load a Show file, all solos are
cleared. Solo states are not saved with Show files.
AFL Solo mode sends the signal from explicitly soloed channels
and solo-safe inputs to the AFL/PFL Solo bus. Soloing of output
busses is always AFL.
Solo Mode Show files do not open in SIP mode. If you save a
Show file while in SIP, when you reopen the Show file, it will
open in PFL Solo mode.
In AFL Solo mode, both input and output signals are sent to the
Solo bus post-fader and post-pan/balance, and are always panned
to stereo even if the Main busses are configured in L–C–R mode.
Monitoring Aux Busses with AFL
Linked Aux busses use true stereo AFL. When you solo a linked
Aux bus, the two busses are heard as a stereo pair on the Solo bus.
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” on
page 130.
Chapter 13: Solo and Monitor Busses 129
Configuring Solo and Monitor Options
Solo and monitor options are configured in the Solo and Monitor
Operations section of the Options > Busses page.
AFL Follows Auxes
When AFL Follows Auxes is selected, assigning an Aux Send to
channel encoders automatically solos that Aux bus. This speeds
up AFL access, specifically for monitor mixing.
The AFL Follows Auxes setting is stored and recalled with each
Show file. By default, the option is off (not selected).
To set AFL to follow Aux encoder assignment:
1
2
Go to the Options page and click the Busses tab
In the Solo and Monitor Operations section, select the AFL Follows Auxes option.
3
Solo controls on the Options > Busses tab
Auxes Follow AFL
When this option is selected, soloing an Aux output from the
Global Control encoders assigns Aux Send level and pan controls
for that bus to the channel encoders of the currently banked input
channels.
The Auxes Follow AFL option is especially useful for monitor
mixing, because it provides instant access to any mix by soloing
the mix output.
If the encoders were already flipped to the faders, flipped
status is maintained when an Aux bus is soloed.
To set Auxes to assign send controls to the channel encoders
when soloed:
1
Go to the Options page and click the Busses tab.
2
Under Solo and Monitor Operation, select the Auxes Follow
AFL option.
To cancel display of Aux send controls:

Unsolo the Aux bus. The Input Encoders return to their previous display.
– or –

Select any other parameter for the Input Channel encoders to
override the Aux follows AFL display. The encoders display
the selected parameter until another Aux output is soloed.
Assign Aux or Variable Group sends to the Channel encoders
or to Channel Control. The Aux or
To cancel (unsolo) in AFL Follows Auxes mode:

Press the flashing Solo Clear button.
The Events list can be used to assign the Solo Clear function
to a footswitch or any other available trigger.
Auto Cancel and Input Priority
The Auto Cancel option determines whether Solo switches cancel
other soloed channels or are additive (latching). The Input Priority option determines whether soloed inputs replace soloed outputs on the AFL/PFL Solo bus.
Auto Cancel On, Input Priority Off A solo cancels all other solos
(inputs and outputs)
Auto Cancel On, Input Priority On An input solo cancels all
other soloed inputs; an output solo cancels all other output solos;
soloed inputs temporarily replace soloed outputs
Auto Cancel Off, Input Priority Off Solos are additive, and so-
loed inputs and outputs are heard together
Auto Cancel Off, Input Priority On Solos are additive, and soloed
inputs temporarily replace soloed outputs.
Mix to Monitors
This option sends the Main mix signal to the Monitor bus. When
enabled (lit), the Main mix is present in the Headphones (or
near-field monitors when a hardware output is assigned to the
Monitor bus) whenever channels are not soloed. This option mirrors the functionality of the Mix to Monitors switch.
For more information, see “Sending the Main Mix to the
Monitor Bus” on page 134.
130
S3L System Guide
Using Solo
Solo operation depends on the type of channel being soloed, and
on any selected Solo switch options. In all modes, a channel’s
Solo switch lights to indicate that the channel is soloed.
Soloing Multiple Channels
To solo multiple channels, do one of the following:

– or –
Input Channels

Soloing an Input Channel or FX Return sends signal to the Solo
bus (when in PFL or AFL modes) or to the Main bus (when in SIP
mode).
In SIP mode only, when a channel is soloed, all other channels
that are not soloed or solo safe are implicitly muted. Implicit
mutes are indicated by a flashing mute switch.
Output Busses
Soloing an output channel sends signal to the AFL/PFL Solo bus.
This applies to Groups, Auxes, and Matrixes. Outputs are always
AFL.

To toggle the Solo status of multiple channels, do one of the
following:
To latch solo on a channel:

Press and release the Solo switch. Press the switch a second
time to unsolo the channel.
Soloing Single Channels


With the Auto Cancel option disabled, press Solo switches in
any sequence. The Solo switches latch on and off.
Soloing VCAs
When you solo a VCA, its member channels are soloed. If the
VCA members include a combination of input and output channels, their solo status follows any Solo switch options. See “Configuring Solo and Monitor Options” on page 130.
To solo the members of a VCA:

To solo a single channel, do one of the following:

With the Auto Cancel option enabled, hold the Multi Select
switch while pressing the Solo switches on channels you want
to toggle.
– or –
To engage momentary solo on a channel:
Hold the Solo switch for more than one second. Release the
solo switch to un-solo the channel.
With the Auto Cancel option disabled, press Solo switches on
multiple channels in any sequence. The Solo switches latch
on.
Toggling the Solo Status of Multiple
Channels
Momentary And Latching Switch
Operation

Hold Multi-Select and press the Solo switches on one or more
channels.
– or –

Channel solo switches can operate with either momentary or
latching behavior.
With the Auto Cancel option enabled, press the Solo switches
on multiple channels simultaneously.
Press the Solo switch on the VCA channels whose members
you want to solo so that the Solo switch is lit.
Press the channel’s Solo switch so it is lit. The solo switch
latches on a momentary press.
Clearing Solos
– or –
To clear all soloed channels:
Hold the channel Solo switch for more than one second for
momentary solo. The channel will automatically unsolo when
you release the switch.

Press the flashing Solo Clear switch to clear all soloed channels.
9-16
Solo
Clear
Mix to
Mons
SHIFT
Solo Clear
Chapter 13: Solo and Monitor Busses 131
Solo Bus Metering
Solo Safing Channels
When a channel or dynamics key input is sent to the Solo bus, its
signal is metered on the Selected Channel meters, temporarily replacing the metering for any currently targeted channel.
Trimming Solo Bus Level
PFL Solo bus monitoring levels can be controlled by the
on-screen Level Trim control in the Solo and Monitor Operations
section. The trim amount is adjustable over a range of –20 dB to
+20 dB.
PFL signals are frequently hotter than AFL signals. Because
Level Trim only affects PFL signals, you can use Level Trim to
balance PFL volume levels with AFL or Mix to Monitors volume
levels, with a minimum of Monitoring level adjustment during a
show.
Solo Safing an Input Channel or FX Return prevents that channel
from being implicitly muted when any other channel is soloed.
Solo safed channels are automatically added to any explicitly soloed channels.
Solo Safe mode is one of the three Safe modes available for Input
Channels and FX Returns. Solo Safe mode is enabled on the
Options > Interactions page (see “Input Safe Switches” on
page 65).
Solo Safe only applies to SIP and AFL solo modes. Solo
safe status is ignored in PFL mode.
To enable Solo Safe mode:
1
Go to the Options > Interaction page.
2
Under Input Safe Switches, select Act as Solo Safes.
To trim the Solo bus level:
To toggle the Solo Safe status of a channel on-screen:
1
Solo a channel.
2
Go to Options > Busses, and adjust the Level Trim setting in
the Solo and Monitor Operations section.

Click the Safe button at the top of the fader strip to toggle Solo
Safe status of the channel. On-screen, the Safe switch flashes
green and displays the letter S when a channel is Solo Safed.
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)
+
Output Channel
Solos (AFL)
No Level Trim in AFL mode
132
S3L System Guide
To Monitor/
Headphones
Using the Monitor Bus
The Monitor bus routes signals to the Headphone output. The
Monitor bus can also be routed to hardware outputs and to
bus-fed plug-ins.
Monitor Bus Switching
Routing the Monitor Bus to Hardware Outputs
To route the Monitor bus to hardware outputs:
1
In the Patchbay, click to the Outputs tab, then click the Mains
tab.
2
Click a Hardware I/O tab to select the desired hardware output.
3
Click in the grid to assign the Monitor bus to the desired destination.
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
Pressing a Key Listen button on-screen sends the key signal from
the targeted channel’s built-in dynamics processor to the Monitor
bus.
Key Listen temporarily overrides the currently enabled Solo bus
operation (PFL or AFL), and replaces any other signal on the
Monitor bus with the mono key signal.
Assigning the Monitor bus to Console analog outputs
Solo In Place, when engaged, is simultaneously routed to the
Main and Monitor busses.
AFL/PFL Solo Bus
In AFL or PFL mode, signal from any soloed channels is sent to
the Monitor bus. When any channel is soloed, the Solo bus overrides the 2-Track return if it is enabled, or the Main mix if it is
currently being sent to the monitors.
Routing the Monitor Bus to Plug-Ins
To route Monitor output to a bus-fed plug-in:
1
Go to the Plug-Ins page.
2
Make sure the desired stereo plug-in is installed and assigned
to a rack slot.
3
Click the Plug-In Input selector at the top of the corresponding
rack slot, and choose Bus Outs > Mains > Monitor - stereo.
Mix to Monitors
The Mains mix (the signal present on the Main busses) can be
sent to the Monitor bus.
Routing the Monitor Bus to Outputs and
Plug-Ins
Plug-in outputs can’t be returned to input channels, in order
to prevent feedback loops.
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 Mains tab of the Patchbay
> Outputs page. Monitor bus outputs are assignable to any number of physical outputs on the system. Use this capability to route
monitor outputs to multiple cue stations (in-ear mix and wedge
mix), to an outboard analyzer, to a listen wedge mix, or to
near-field monitors.
Assigning monitor output to a bus-fed plug-in
Bus-Fed Plug-Ins For routing to bus-fed plug-ins, the Monitor
bus appears as a choice in the plug-in routing selector. This lets
you route the Monitor bus to a bus-fed stereo plug-in such as an
onboard analyzer. Plug-ins can not be inserted on the Monitor
bus.
Chapter 13: Solo and Monitor Busses 133
Sending the Main Mix to the Monitor Bus
Monitor Output from an L-C-R Main Mix
The stereo Mix to Monitors signal is derived from the L–C–R
Main mix by adding a –3 dB signal from the Center channel to the
Left and Right monitor channels.
Monitor Output from an L–R+M Main Mix
In a L–R+M Main mix, only the Left and Right channels are
heard in the Monitor bus.
To send the Main mix to the Monitor bus:

To adjust the level for the Monitor bus on-screen:
1
Go to Options > Busses.
2
In the Solo and Monitor Operations section, adjust the
Monitoring knob.
To adjust monitor bus delay:
1
Go to Options > Busses.
2
Click the In button beneath the on-screen encoder to enable
Delay.
3
Click the Delay knob in the Solo and Monitor Operations section and drag to adjust. When lit, the Delay setting is applied to
the monitor output.
Press the Mix to Monitors switch.
– or –

Delay time can be displayed in a variety of units of measurement. See “Channel Delay” on page 63.
Go to the Options > Busses page and select the Mix to Monitors
option.
Adjusting Monitor/Headphone Level
Oscillator, Talkback, and 2-Track
Controls
Output level for the Monitor bus is controlled from the Monitors
Global Control encoder and on-screen.
Using the Oscillator
Output level for the Headphone output is controlled by the Headphone volume control located on the front edge of the S3 control
surface.
The Oscillator provides selectable signal type, frequency (for
Variable Sine) and signal level, as well as a master on/off switch.
The output of the Oscillator can be routed directly to output busses and can be assigned to Input Channels and FX Returns.
You can apply an adjustable delay to the Monitor bus to match
the acoustic delay from the main speaker system.
To adjust the level for the Monitor bus from the Global Control
encoders:

Rotate the Monitoring Global Control encoder to adjust the
level as needed.
VCAs
Monitors
Mains
Sel
Sel
Sel
Sel
In
In
In
In
Top
Back
Config
Expnd
Page
Page
To route the Oscillator to Input Channels or FX Returns,
see “Assigning Input Sources to Channels” on page 74.
Routing the Oscillator to Output Busses
To route the Oscillator to an output bus:
1
Go to the Options page and click the Misc tab.
2
In the Oscillator section, click the Route button. The switch
flashes to indicate Route to Selected mode.
3
Go to the Outputs page and click one or more output fader
strips. The selected fader strips flash.
4
In the confirmation dialog that appears, click Route to confirm
your assignment or click Cancel to cancel without changing
the current routing.
Signals are routed to output busses post-mute and post fader.
Monitoring Global Control encoder
To adjust Headphone level:

Adjust the Headphone volume control to adjust level as
needed.
The Headphone volume control is post-Monitor bus level.
If no signal is present on headphones, make sure the level
for the Monitor bus is set properly.
134
S3L System Guide
Configuring the Oscillator and Setting Level
Using Talkback
The Oscillator is configured on-screen, and can be activating
on-screen or from the Global Control encoders.
You can route a single Console or Engine analog input directly
into any output bus using the Talkback circuit. This allows you to
send talkback to outputs (such as Auxes feeding stage monitors)
without having to use a system channel.
To configure the Oscillator:
1
Go to Options > Misc.
2
As a precaution, click and drag the on-screen Level encoder in
the Oscillator section to set the Oscillator level to off before
you go any further.
Routing Talkback to Output Busses
To route Talkback to an output bus:
1
Go to Options > Misc.
2
In the Talkback section, click the 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:
•
•
•
•
•
•
4
100 Hz Sine
1 kHz Sine
10 kHz Sine
Variable Sine
Pink Noise
White Noise
If you select Variable Sine, you can set the sine wave frequency with the on-screen frequency control (directly to the
right of the Signal pop-up).
5
Click the on-screen In button to activate the Oscillator.
6
Slowly drag the on-screen Level encoder to set the Oscillator
level.
Choosing a Talkback input
3
Click Route. The switch lights to indicate Route to Selected
mode.
4
Go to the Outputs page and click one or more output fader
strips. The selected fader strips flash.
5
In the confirmation dialog that appears, click Route to confirm
your assignment or click Cancel to cancel without changing
the current routing.
To activate and set the level for the Oscillator from the Global
Control encoders:
1
Press the Monitoring Global Control encoder to assign Oscillator controls to the Global Control encoder.
2
Under the Global Control display showing Oscillator, press the
corresponding encoder In switch to turn activate the Oscillator.
3
Rotate the corresponding encoder to set the Oscillator level.
Signals are routed to output busses post-mute and post fader.
Activating Talkback Input and Setting Level
Talkback can be adjusted on-screen or from the Global Control
encoders.
To activate and set the level for Talkback input on-screen:
1
Go to Options > Misc.
2
Click the on-screen In button in the Talkback section to activate the Talkback input.
3
Drag the on-screen Level knob to set the Talkback level.
You can designate a footswitch, Function switch or other triggers to control Talkback. For more information, see
Chapter 21, “Events.”
Chapter 13: Solo and Monitor Busses 135
To activate and set the level for the Talkback from the Global
Control encoders:
1
Press the Monitoring Global Control encoder to assign Talkback controls to the Global Control encoders.
2
Under the Global Control display showing Talkback, press the
corresponding encoder In switch to turn the Talkback circuit
on.
Activating 2-Track Input and Setting Level
The 2-track input can be adjusted on-screen or from the Global
Control encoders.
To activate and set level for the 2-Track inputs on-screen:
1
Go to Options > Misc.
2
In the 2-Track section, click the on-screen In button to activate
the 2-track input.
Setting Talkback Dim Level
3
Drag the on-screen Level knob to set the level of the.
When Talkback is sent directly to an Output bus, the bus program
material (minus the talkback signal) is automatically reduced by
the amount specified in the Dim Level setting.
To activate and set level for the 2-Track inputs from the Global
Control encoders:
3
Rotate the corresponding encoder to set the Talkback level.
1
Press the Monitoring Global Control encoder to assign 2-track
controls to the Global Control encoders.
2
Under the Global Control display showing 2-Track, press the
corresponding encoder In switch to activate the 2-track circuit.
3
Rotate the corresponding encoder to set the 2-track input level.
To set the Talkback Dim Level:
1
Go to Options > Misc.
2
In the Talkback section, double-click the Dim Level text box
and enter a Dim Level value in the range –60 dB (maximum
gain reduction) to 0 dB (no gain reduction).
Using 2-Track Inputs
You can route a pair of Console or Engine analog or digital hardware inputs directly into output busses using the 2-Track inputs.
This allows you to send audio to the selected outputs without using a system channel. Use this feature to perform tasks such as
confirming system audio output.
Routing 2-Track to Output Busses
To route 2-Track inputs to output busses:
1
Go to Options > Misc.
2
In the 2-Track section, click the Input Fed to Monitors and
Masters pop-up and select a hardware input source.
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
strips. The selected fader strips flash.
5
In the confirmation dialog that appears, click Route to confirm
your assignment or click Cancel to cancel without changing
the current routing.
136
S3L System Guide
Talkback, 2-Track and Oscillator States
When Loading Shows
When you load a Show file, Talkback, 2-Track and Oscillator
controls are set to off (deactivated), regardless of their state when
the Show was last saved.
Chapter 14: Muting and Mute Groups
This chapter shows how to do the following:
• Mute Channels
• Using Mute Groups
Muting Channels
Channels can be muted in three ways: explicitly (lit solid), with
the channel mute switch; implicitly (flashing), as a result of another channel being soloed, and as a member of a Mute Group or
VCA (flashing).
Using Mute Groups
Channels can be assigned to any of the 8 available Mute Groups.
Mute Groups let you mute and unmute multiple channels simultaneously by pressing a single switch.
Any type of channel, including all Input Channels and all Output
channels, except VCAs, can be assigned to Mute Groups.
Mute Groups can be assigned to Function switches F1–F16 for
control of Mute Groups from the S3 control surface.
Mute Groups only affect the status of channel Mute switches,
and do not affect the on/off status of Aux Sends, output of the
Talkback/Oscillator section, or the routing of signals to the
monitor outputs.
Mute switches always behave in additive (latched) fashion.
Channels can be muted in any sequence, and they will remain
muted until they are unmuted.
The following provide some additional information about channels, busses, and muting:
Input Channels and FX Returns Channel mute is pre-fader on
Input Channels and FX Returns.
Assigning Channels to Mute Groups
Channels are assigned to Mute Groups on-screen. Any mixture of
channel types can be assigned to a Mute Group. Channels can be
assigned to more than one Mute Group.
Output Channels Mute operation is post-fader on all types of
Output busses.
To assign or remove members of a Mute Group on-screen:
Mains The mute status of the Main busses is controlled from the
In switch below the Mains Global Control encoder. Only the
1
Go to the Inputs or Outputs page.
2
Click the Assign button in the Mute Groups section (to the
right of the on-screen faders). The Assign button flashes to indicate Assign mode.
linked Main busses are muted. See “Mains Mute” on page 94.
VCAs When you mute a VCA, its member channels are muted.
The member channel Mute switches flash to indicate they are
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
other channels that are not soloed or solo safe are implicitly
muted.
Mute Group Members of a mute group are implicitly muted and
flash when the mute group is active.
Mute Group Assign mode
3
Below the flashing Assign button, one of the Mute Group buttons 1–8 flashes to show which Mute Group is selected for assignment. If desired, click to select a different Mute Group.
4
Click to select the channels you want assigned to the selected
Mute Group (click their fader strips to select individual channels; click their on-screen bank numbers to select multiple
channels at once).
Chapter 14: Muting and Mute Groups 137
5
Do either of the following:
4
• To confirm the Mute Group definition, click the flashing
Assign button.
Click the ADD button in the Triggers list and choose a Function Switch from the pop-up menu. The Function switch, with
its default properties, is added to the Triggers list.
– 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 program the assigned Function switch to flash when the Mute Group
is activated.
Selecting a Function Switch from the Triggers list
5
To assign a Mute Group to a Function switch:
1
Go to the Options > Events page.
2
Click the New button in the Event Commands section.
Click the ADD button in the Actions list and choose a Mute
Group. The Mute Group, with its default settings, is added to
the action list area.
Selecting a Mute Group from the Actions list
To flash the assigned Function switch when the Mute Group is
engaged:
New button in the Events Command section of the Events tab
3
1
Click the ADD button again, and select Flash Function Switch
<n>, where <n> is the Function switch to which you assigned
the Mute Group. For example, if you assigned Mute Group 1
to Function Switch 1, choose Flash Function Switch 1 from the
list.
2
Double-click the action in the Actions list. Or, right-click the
item in the list and choose Edit.
Name the event (such as “Mute Group 1 (F9)”) by doing the
following:
• Double-click the event name in the list. Or right-click the
event name and choose Rename.
• Enter a new name.
• Press Enter to confirm the new name.
Editing an Actions list tr
3
Click the Type pop-up menu and choose Toggle.
4
Click the State pop-up menu and choose 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
138
S3L System Guide
Using Mute Groups
Mute Groups are activated using the Mute Group controls
on-screen, or the Function switches on the S3 control surface if
you assigned one or Mute Groups to them.
Explicit and Implicit Channel Mute with
Mute Groups and VCAs
This section describes the behavior of channel Mute switches
when used with Mute Groups and VCAs. Mute Groups, VCAs
and Explicit Mutes
To activate a Mute Group:

On-screen, click a Mute Groups button 1–8 to mute the members of the corresponding group. The Mute switches of the
Mute Group members flash to indicate they are implicitly
muted.
Channels can be muted in three ways:
Explicitly Using the channel Mute switch.
Implicitly As a member of a Mute Group or VCA.
– and –
Implicitly As a result of another channel being soloed.
Using Channel Mute Switches
Any input or output channel implicitly muted by a Mute Group or
VCA can be explicitly un-muted, explicitly muted, and reset to its
implicit mute state by repeatedly pressing a channel Mute switch.
Explicitly unmuting or muting a channel in this way does not permanently remove that channel from the Mute Group or VCA.
Activating a Mute Group on-screen

On the S3 control surface, press the Function switch you assigned to control the Mute Group. The Mute switches of the
Mute Group members flash to indicate they are implicitly
muted.
12
12
6
6
Sel
1
Sel
0
A
Rec
5
Workstation
Application
A
Rec
5
10
3
20
0
30
+20/Clip
+15
+15
+9
+9
+3
0
-3
10
40
60
11
4
13
6
+3
0
-3
-9
-9
-15
-15
21
21
30
40
15
8
To cycle through the available Mute modes:
1
Activate a Mute Group, or mute a VCA. The Mute switches on
all implicitly muted channels flash.
2
Press a flashing Mute switch to explicitly unmute the channel.
Its Mute switch is now unlit.
3
Press the same (now unlit) Mute switch again to explicitly
mute the channel. Its Mute switch is now lit solid.
4
Press the same Mute switch again to implicitly mute the channel and return it to being controlled by the active Mute Group
or VCA. Its Mute switch resumes flashing.
12
14
20
7
0
2
10
5
+20/Clip
9
0
This feature is useful to temporarily unmute a channel during a
line check without having to release the entire Mute Group or
VCA.
16
9-16
60
Function switches
Select multiple channels first to be able to toggle all their
states at once. The Mute behavior may vary if some, but not
all, of the selected channels are members of a Mute Group or
VCA.
To activate multiple Mute Groups:

Click any number of on-screen Mute Group buttons 1–8 in any
sequence. Mute Groups function in an additive fashion.
To deactivate a Mute Group:

Click a lit Mute Group switch on-screen.
Chapter 14: Muting and Mute Groups 139
Disabling Mute Groups
You can temporarily disable all Mute Group functions. When
Mute Groups are disabled, all channels implicitly muted as a result of Mute Group activation are unmuted.
Channels can still be explicitly muted when Mute Groups are disabled. Mute Group assignments are preserved and made available
again when Mute Groups are re-enabled.
To disable Mute Groups:
1
Go to the Inputs or Outputs pages.
2
Click the Disable button on-screen in the Mute Groups section.
Mute Group Disable button on-screen
140
S3L System Guide
Part V: Processing
Chapter 15: Dynamics
This chapter shows how to do the following:
• Use the built-in Compressor/Limiter
• Use the built-in Expander/Gate
• Adjust dynamics plug-ins
Built-In Comp/Lim
The built-in Comp/Lim defaults to compression, or can be
switched to a limiter by setting the Ratio to its maximum setting.
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
Built-In Dynamics
A Compressor/Limiter (Comp/Lim) is available on each Input
Channel, FX Return, output bus, and Matrix mixer. An Expander/Gate (Exp/Gate) is available on each input channel.
Built-in dynamics are not limited by DSP resources. Both built-in
and most plug-in dynamics processors support sidechain processing.
Built-in dynamics are adjusted using the Channel Control encoders or on-screen. Each built-in Comp/Lim can also be toggled
on/off and its threshold parameter can be adjusted using the individual channel encoders.
The Threshold level setting is indicated by the level indicator
in the corresponding display.

An input/output curve appears on-screen when adjusting dynamics parameters.

Dynamics Plug-Ins
Dynamics plug-ins can be used on input and output channels.
When assigned in the plug-in racks, dynamics plug-ins can be inserted on individual mono or stereo channels or fed by busses.
Most dynamics plug-ins support sidechain processing.
Dynamics plug-ins can be adjusted using Channel Control, from
the Global Control encoders (in Insert mode), or from the
on-screen Plug-Ins page. In addition, plug-in presets can be
stored and loaded.
Threshold Increases or decreases the threshold level for the
built-in Comp/Lim.
Ratio Increases or decreases the ratio for the built-in Comp/Lim.
The most extreme clockwise setting (100:1) switches the process
into Limiting mode.
Attack Increases or decreases the attack time for the built-in
Comp/Lim.
Comp Knee Increases or decreases the knee width for the built-in
Comp/Lim. A knee value of 0 provides a hard knee setting; 100
provides a soft knee.
Release Increases or decreases the release time for the built-in
Comp/Lim.
Make-Up Gain Increases or decreases the make-up gain applied
by the built-in Comp/Lim.
In/Out Toggles the built-in Comp/Lim in or out of circuit (by-
pass). The Comp/Lim can be taken in or out of circuit using the
Channel Control In Navigation switch, the channel encoder In
switch, or by clicking the Comp/Lim button on-screen.
Dynamics plug-ins can be taken in/out of circuit using the
Channel Control In switch and software screen.
Sidechain Processing
The built in Comp/Lim provides sidechain and key listen controls. For details, see “Using the Sidechain” on page 148.
Channel Control provides a unified set of controls for
both built-in and plug-in dynamics processing.
Hardware Inserts
You can insert a hardware dynamics processor and control its
in/out state and insert position on-screen. See Chapter 18, “Hardware Inserts.”
Chapter 15: Dynamics 143
Adjusting the Built-In Comp/Lim
To engage and adjust Comp/Lim Threshold using the channel
encoders:
The built-in Comp/Lim can be adjusted using Channel Control
and on-screen. Comp/Lim Threshold can be adjusted using the
channel encoders. When adjusting Dynamics, a Dynamics response curve appears on-screen.
See “On-Screen Dynamics Controls” on page 146 for instructions on adjusting dynamics on-screen.
To engage and adjust the built-in Comp/Lim using Channel
Control:
1
Select an input or output channel.
2
Make sure the Channel Control main menu is shown in the
Channel Control encoder displays.
Bank Input Channels and/or FX Returns.
2
Press the Comp Threshold Channel Encoder Assignment
switch.
3
Press the channel encoder In switch to engage the Comp/Lim
for the desired channel(s).
4
Rotate the channel encoder to adjust the Comp/Lim Threshold
for the desired channel(s).
Built-In Exp/Gate
The built-in Exp/Gate defaults to gate (Ratio of 100:1, the maximum setting). It can be switched to Expander mode by setting the
Range to its minimum setting. Mono and stereo processing are
supported.
Press the Back/Top Channel Control Navigation switch to
return to the Channel Control main menu.
3
1
Press the Channel Control encoder under the display showing
Comp/Lim. Compressor/limiter controls are now available on
the Channel Control encoders.
Exp/Gate Parameters
The following Exp/Gate parameters are provided:
Input
EQ
CompLim
ExpGate
Aux 1-8
Aux 9-16
Va
Threshold Increases or decreases the threshold level for the
built-in Expander/Gate.
Ratio Increases or decreases the ratio for the built-in Expander/Gate. The most extreme clockwise setting (100:1) puts
the process into Gate mode.
Channel Control Comp/Lim encoder
4
Press the In switch in the Channel Control Navigation section
to toggle the entire Comp/Lim processor in/out.
Attack Increases or decreases the attack time for the built-in Ex-
pander/Gate.
Gate Hold Increases or decreases the time the built-in gate holds.
Top
Back
In
Page
Expnd
Page
Release Increases or decreases the release time for the built-in
Expander/Gate.
Range Sets the maximum range or depth of attenuation of the
Channel Control Navigation In switch
5
Adjust the Channel Control encoders for the parameters
shown in the displays.
See “Comp/Lim Parameter Mapping” on page 150 for
more information on how Comp/Lim parameters are
mapped to the Channel Control encoders.
6
144
To make fine adjustments, hold Fine while rotating an encoder.
S3L System Guide
gate on that channel.
In/Out Takes the built-in Expander/Gate in or out of circuit (by-
pass).
Side-Chain Keying The Expander/Gate supports side-chain and
key listen. For details, see “Using the Sidechain” on page 148.
Adjusting the Built-In Exp/Gate
Adjusting Dynamics Plug-Ins
The Exp/Gate can be adjusted using Channel Control and
on-screen. When adjusting Dynamics, a Dynamics response
curve appears on-screen.
Dynamics plug-ins inserted on channels can be adjusted using
Channel Control. Dynamics plug-ins map their threshold, ratio,
attack, release, gain, and filter controls to the corresponding encoders in Channel Control.
To engage and adjust Exp/Gate controls:
1
Select an input channel.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays.
Plug-ins that do not map directly to Channel Control encoders can be controlled using the Global Control encoders. See “Adjusting Plug-Ins Using Global Control” on
page 174.
Press the Back/Top Channel Control Navigation switch to
return to the Channel Control main menu.
3
To access inserted Dynamics plug-in parameters in Channel
Control:
Press the Channel Control encoder under the display showing
Exp/Gate. Expander/gate controls are now available on the
Channel Control encoders.
Input
EQ
CompLim
ExpGate
Aux 1-8
Aux 9-16
1
Select one or more channels.
2
Make sure the Channel Control main menu is displayed in the
Channel Control displays.
Press the Back/Top Channel Control Navigation switch to
return to the Channel Control main menu.
Va
3
To control a Comp/Lim plug-in, do the following:
• Press the Channel Control encoder Sel switch under the display showing CompLim.
Channel Control Exp/Gate encoder
4
Press the In switch in the Channel Control Navigation section
to toggle the Exp/Gate processor in/out
Top
Back
In
Page
Expnd
Page
Input
6
ExpGate
Aux
• Press the Channel Control encoder under the display showing CompLim. Parameters for the inserted Comp/Lim
plug-in are now mapped to the Channel Control encoders.
Parameters in the displays are shown with an asterisk to
identify them as plug-in parameters.
Adjust the Channel Control encoders for the parameters
shown in the displays.
See “Exp/Gate Parameter Mapping” on page 150 for information on how Exp/Gate parameters are mapped to the
Channel Control encoders.
CompLim
Lit Comp/Lim Channel Control encoder Sel switch
Channel Control Navigation In switch
5
EQ
4
To control an Exp/Gate plug-in, do the following:
• Press the Channel Control encoder Sel switch under the display showing ExpGate.
• Press the Channel Control encoder under the display showing ExpGate. Parameters for the inserted Exp/Gate plug-in
are now mapped to the Channel Control encoders.
To make fine adjustments, hold Fine while rotating an encoder.
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 Channel Control Navigation In switch. When lit, the plug-in is in
(engaged); when unlit, the plug-in is out (bypassed).
Chapter 15: Dynamics 145
To adjust dynamics parameters on-screen:
Input Direct Mode
Input Direct mode lets you completely bypass the built-in dynamics and EQ processing, and all inserts on Input Channels and FX
Returns.
1
Select a channel on-screen.
2
Adjust the on-screen controls as needed:
• For the built-in comp/lim or exp/gate, adjust the parameter
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.
1
Select an Input Channel.
2
Click the Input Direct button in the upper right corner of the
screen. When enabled, the Input Direct LED lights.
To reset an on-screen dynamics parameter to its default value, do
one of the following:

Alt-click the control.
– or –

Right-click the control and choose Reset.
To reset an entire dynamics section to its default settings:
Input Direct button

On-Screen Dynamics Controls
Hold the Default switch and press the In switch in the Channel
Control Navigation section.
– or –
The software screen lets you adjust built-in or plug-in dynamics
on-screen, with simultaneous access to Comp/Lim and Exp/Gate
parameters (including their side-chain settings).
The Inputs screen also provides the Dynamics Graph display. The
Dynamics Graph displays a composite response of the compressor and gate that you can use to view and edit built-in dynamics
parameters.

On-screen, right-click anywhere on the Comp/Lim or
Exp/Gate sections (but not directly on an encoder or button)
and choose Reset.
Using the Dynamics Graph Display
In addition to the on-screen encoders and buttons, you can adjust
dynamics parameters using the Dynamics Graph.
To adjust dynamics parameters on-screen using the Graph
display:
Dynamics
Graph
1
Select a channel on-screen.
2
Make sure the Comp/Lim or the Exp/Gate is in circuit, and targeted 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
Graph, click anywhere in the on-screen Compressor/Limiter
or Expander/Gate sections to change the display.
3
Drag handles in the on-screen Dynamics Graph to adjust
Threshold and Ratio.
The Dynamics Graph does not support Fine adjust mode using the Fine switch.
146
S3L System Guide
Dynamics Settings and Presets
Built-in dynamics settings can be copied and pasted between
channels. Settings can also be stored and loaded as dynamics Presets to archive and transfer settings.
Presets for Built-In Dynamics
You can store and load dynamics settings as presets for built-in
and plug-in dynamics processors. Presets can be accessed
on-screen.
To save or load a preset:
Copying and Pasting Dynamics Settings
1
Adjust dynamics settings on a channel (if saving a preset), or
select an Input Channel (to load a preset).
2
Click the Comp/Lim or Exp/Gate Presets icon on-screen.
To copy and paste dynamics settings:
1
Right-click anywhere in the Comp/Lim or Exp/Gate (input
channels only) areas of the on-screen dynamics section and
choose Copy Comp/Lim Settings, or Copy Exp/Gate Settings.
Presets
Comp/Lim
Presets
Exp/Gate
Built-in dynamics Presets buttons
3
Copying dynamics settings
2
Go to the channel where you want to paste the settings.
3
Right-click in the Comp/Lim or Exp/Gate areas of the
on-screen dynamics section and choose Paste Comp/Lim Settings or Paste Exp/Gate Settings.
If necessary, select the appropriate Presets folder by clicking
and selecting it from the Folder selector.
Presets Folder selector
To copy and paste all of a channel’s built-in dynamics settings:
1
Right-click in the on-screen Dynamics Graph and choose
Copy Dynamics Settings.
2
Select the Input Channel where you want to paste the settings.
3
Right-click in the on-screen Dynamics Graph of the new channel 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.
• To save the current dynamics settings as a new preset, click
New and enter a name for the preset file.
• To cancel without changing settings, click Cancel.
Chapter 15: Dynamics 147
Using the Sidechain
Dynamics processors typically use the detected amplitude of their
input signal to trigger gain reduction. This split-off signal is
known as the sidechain. The built-in Comp/Lim and Exp/Gate
feature sidechain circuits with external key and EQ filter capabilities.
Using External Key Sidechain
The on-screen Key Assign selectors lets you select the side-chain
source for either dynamics processor and its pickoff point.
You can use any of the following as the key source for the
Comp/Lim and the Exp/Gate:
• Self
• Any Input Channel or FX Return
With external key sidechain processing, dynamics processing is
triggered using an external signal (such as another input) instead
of the input signal. This external source is known as the key input.
With sidechain EQ filters, you can make dynamics processing
more or less sensitive to certain frequencies. For example, you
might configure the side-chain so that certain lower frequencies
on a drum track trigger dynamics processing.
Engaging the Sidechain
The sidechain must be engaged to enable both external key and
EQ filter sidechain processing for the selected channel. The Key
In control can be toggled in or out from Channel Control or
on-screen.
• Any hardware input
• You can also specify the pickoff source for the key signal
for input channels.
To select the key input for the sidechain:
1
Select an Input Channel.
2
Click the E/G Side-Chain tab in the dynamics section to select
the gate.
3
Click the Key Source selector and choose an available channel
or bus.
To toggle the sidechain in or out of circuit from Channel Control:
1
Assign the Comp/Lim or Exp/Gate function to Channel Control.
2
Press the Channel Control encoder In switch under the display
showing Key LF.
To toggle the side-chain in or out of circuit from the on-screen
Inputs or Outputs page:

For Comp/Lim, click the C/L Sidechain tab, and then click the
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:

Key In button
148
S3L System Guide
Click the Source Pickoff selector and choose a pickoff source
for the selected key signal:
Using Sidechain EQ Filters
Key Listen
Both the Compressor/Limiter and the Expander/Gate sidechains
provide two bands of EQ to band-limit the range of frequencies
that trigger dynamics processing.
The Key Listen button toggles the key onto the Solo bus, replacing the signal there. This happens regardless of whether the key is
the channel signal or the external key, or whether it has been
side-chain filtered.
For frequency-dependent gating or compression, make
sure the Key Source is set to Self.
To activate a sidechain EQ filter in Channel Control:
1
Assign the Comp/Lim or Exp/Gate function to Channel Control.
2
Press the Channel Control encoder under the display showing
Key HF and/or Key LF.
Key Listen always overrides all other signals on the Solo bus. If
soloed channels are already on the Solo bus, they are suppressed
until Key Listen is cleared. If additional channels are soloed
while Key Listen is on, they will be added but suppressed.
The Key Listen solo is also exclusive to itself; pressing Key Listen on a different processor or channel turns off the previous Key
Listen and the new Key Listen takes over.
To activate a sidechain EQ filter on-screen:

Key Listen on a dynamics plug-in does not route the signal to
the solo bus, but to the plug-in output. Use caution when using the Key Listen with a plug-in dynamics processor.
Click the sidechain filter In buttons.
To engage Key Listen:

Click the Listen button in the on-screen Exp/Gate controls.
To disengage Key Listen:

Click Listen again. The Solo bus reverts 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
Solo Clear a second time to clear channel solos, if any.
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 filter ranges from 10 Hz to 20 kHz). On-screen, the LEDs around
the encoder light, and the current frequency value is displayed
on-screen.
Chapter 15: Dynamics 149
Channel Control Dynamics Parameter
Mapping
The following tables show how Dynamics parameters are
mapped to the Channel Control encoders and their corresponding
In and Sel switches.
Control Ranges for Built-In Dynamics
Comp/Lim Defaults and Ranges
Comp/Lim (defaults to Compressor mode)
Parameter
Default
Minimum
Maximum
Comp/Lim Parameter Mapping
Threshold
0 dB
–40 dB
+20 dB
Channel Control Comp/Lim parameter mapping
Attack
10 ms
100 us
200 ms
Release
100 ms
10 ms
4 sec
Ratio
2:1
1.25:1
100:1
Knee
0 (hard)
0
100
Makeup Gain
0 dB
–40 dB
+20 dB
Channel
Control
Encoder
Encoder
Rotate
Encoder Sel
Switch
Encoder IN
Switch
1
Threshold level
n/a
Comp/Lim
in/out
2
Ratio
n/a
n/a
3
Attack
n/a
n/a
4
Knee
n/a
n/a
5
Release
n/a
n/a
6
Gain level
n/a
n/a
7
Key HF
Key Listen
Filter in/out
8
Key LF
Key In
Filter in/out
Exp/Gate Parameter Mapping
Exp/Gate Defaults and Ranges
Exp/Gate Defaults (defaults to Gate mode)
Parameter
Default
Minimum
Maximum
Threshold
0 dB
–60 dB
+20 dB
Attack
1 ms
20 us
500 ms
Release
250 ms
10 ms
4 sec
Ratio
100:1 (Gate
mode)
1.25:1
100:1
Gate Hold
100 ms
10 ms
4 sec
Gate Range
–20 dB
–80 dB
0 dB
Channel Control encoder Exp/Gate parameter mapping
Channel
Control
Encoder
150
Encoder
Rotate
Encoder Sel
Switch
Encoder IN
Switch
1
Threshold level
n/a
Comp/Lim
in/out
2
Ratio
n/a
n/a
3
Attack
n/a
n/a
4
Knee
n/a
n/a
5
Release
n/a
n/a
6
Gain level
n/a
n/a
7
Key HF
Key Listen
Filter in/out
8
Key LF
Key In
Filter in/out
S3L System Guide
Chapter 16: EQ
This chapter shows how to do the following:
• Use the built-in EQs
• Use the Graphic EQs
• Adjust EQ plug-ins
• Save EQ settings and use presets
EQ Overview
Built-In EQ
A 4-band parametric EQ is available on each Input Channel, FX
Return, output channel, and Matrix Mixer. Two EQ modes, Digital 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 assigned in the plug-in racks, EQ plug-ins can be inserted on individual mono or stereo channels or fed by busses. EQ plug-ins can
be adjusted using Channel Control, using the Global Control encoders (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 Chapter 18, “Hardware
Inserts.”
Chapter 16: EQ 151
Built-In EQ Parameters
4-Band EQ
The following 4-band EQ parameters are available:
EQ In
EQ In toggles the built-in EQ processor (all bands) in or out of
circuit on the selected channels, and can be adjusted using Channel Control or on-screen.
Analog and Digital EQ Modes
The Analog/Digital button toggles the built-in EQ between digital mode and analog mode, on a per-channel basis, and is adjusted
on-screen.
Digital Mode A standard digital parametric EQ. Frequency range
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.
Digital Q is expressed in Q factor terms in the range 10 (left, a
narrow band) to 0.1 (right, a wide band). Digital Mode is the default EQ mode.
Analog Mode An EQ with a response modeled on that of an analog console renowned for its EQ section. Frequency range is limited to match, and the outer bands provide shelving only. Analog
Q is expressed in octaves of bandwidth in the range 0.1 (left, a
tenth of an octave) to 2 (right, two octaves.)
The HPF does not change when the EQ is switched between
Digital and Analog mode.
Gain, Frequency, and Q/Bandwidth
Each band of the built-in 4-band EQ provides the following parameters, and are adjusted using Channel Control or on-screen:
Gain Boosts or cuts the corresponding band. The LEDs around
the Gain encoder light from the center-point to the right (boost),
or from the center-point to the left (cut) to illustrate current Gain.
Freq Sets the center or corner frequency for each band, as fol-
lows:
• Freq sets the center 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 in Shelf mode. (See “Bell and Shelf Modes for Hi and
Lo Filters” on page 152.)
Rotating the encoder clockwise increases the frequency for that
band; rotating it counter-clockwise decreases the frequency. The
available range of each band depends on the EQ mode (Digital or
Analog). See “Control Ranges for Built-In 4-Band EQ (All
Modes)” on page 159.
152
S3L System Guide
Q (Q/Bandwidth) Controls Q (in digital mode) or bandwidth (an-
alog mode).
 In Digital mode, Q determines Q factor. When the Hi or Lo filters are in Shelf mode, the Q knob determines the Q of the shelf.
 In Analog mode, this control changes to a bandwidth control
which performs essentially the same function.
Band In/Out Each of the available EQ bands can be taken in or
out (bypassed) using their encoder (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
In. (Same for Input encoders and Channel Control encoders when
assigned to EQ).

On-screen, a dedicated In/Out switch is located just below
each Gain knob.

Bell and Shelf Modes for Hi and Lo Filters
In digital EQ mode, the Hi and Lo filters can be toggled between
Bell and Shelf modes.
When in Bell mode, the Hi or Lo filters function as a parametric
EQ with variable Q. When in Shelf mode, the Hi module is a
high-shelf EQ, and the Lo module is a low-shelf EQ. For instructions on configuring these bands for Bell or Shelf mode, see “Adjusting EQ” on page 153.
HPF
The following built-in HPF parameters are available:
In Toggles the built-in HPF processor in or out of circuit on the
selected channels.
Freq Sets the corner frequency for the HPF on the selected chan-
nels.
To adjust the built-in HPF from Channel Control:
Adjusting EQ
You can adjust EQ from the Channel encoders, Channel Control,
and on-screen. When adjusting EQs, an EQ response curve appears on-screen, and parameter settings are shown in the corresponding displays on the S3 control surface.
See “On-Screen EQ Controls” on page 155 for instructions on adjusting EQ parameters on-screen.
Adjusting HPF Controls
1
Select one or more input channels.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays.
Press the Back/Top Channel Control Navigation switch to
return to the Channel Control main menu.
3
Press the Channel Control encoder under the display showing
Input.
4
HPF is assigned to the third encoder in Channel Control. Adjust the corner frequency by rotating the corresponding encoder.
5
Press the Channel Control encoder In switch to toggle the HPF
in/out.
To adjust the built-in HPF from the channel encoders:
1
Bank Input Channels and/or FX Returns.
2
Press the HPF Channel Encoder Assign switch to assign HPF
to the channel encoders.
Adjusting Built-In 4-Band EQ Controls
Input
Gain
HPF
EQ
To use the built-in EQ on a channel:
Dyn
Insert
Comp
Group
Aux
Aux
Pan
Flip
Mix
Pan
Channel
Flip
1
Select one or more channels.
2
Make sure the Channel Control main menu is shown in the
Channel Control displays.
3
Press the Channel Control under the display showing EQ. EQ
controls are now available on the Channel Control encoders.
4
Press the In switch in the Channel Control Navigation section
to toggle the EQ processor in/out.
5
Adjust the Channel Control encoders for the displayed parameters.
6
To make fine adjustments, hold Fine while rotating an encoder.
7
Press the Analog button on-screen to toggle between the two
EQ types.
Gain Channel Encoder Assign switch
3
Press the channel encoder In switch to toggle the filter in/out.
LR
EQ
DY
Ch 1
1
HPF
Channel encoder In switch
4
Adjust the HPF corner frequency by rotating the corresponding channel encoder.
5
To make fine adjustments, hold Fine while rotating an encoder.
Chapter 16: EQ 153
EQ Parameter Mapping in Channel Control
To engage or disengage a band:
4-Band Parametric EQ (Digital Mode)

The following table shows how built-in EQ parameters (default
digital EQ mode) are assigned to the Channel Control encoders:
To bypass the current EQ module:
.
Channel Control parameter mapping for digital EQ (built-in or
plug-in)
Channel
Control
encoder
Encoder
Rotate
Encoder Sel
Switch
Encoder IN
Switch
1
Low Gain
n/a
EQ band in/out
2
Low Freq/Q
Toggles Freq/Q
Bell in/out
3
LoMid Gain
n/a
EQ band in/out
4
LoMid Freq/Q
Toggles Freq/Q
n/a
5
HiMid Gain
n/a
EQ band in/out
6
HiMid Freq/Q
Toggles Freq/Q
n/a
7
High Gain
n/a
EQ band in/out
8
High Freq/Q
Toggles Freq/Q
Bell in/out
4-Band Parametric EQ (Analog Mode)
The following table shows how parameters are assigned to the
Channel Control encoders when using built-in EQ in analog
mode:
Press the Channel Control encoder In switch for that band to
toggle it in/out. When engaged, the In switch LED is lit.

Press the Channel Control In switch.
To adjust EQ gain and frequency parameters:

Adjust the Gain and Freq encoders for each band as needed.
To reset an EQ parameter to its default value:

Press and hold Default and press the encoder for the parameter
you want to reset.
To reset the entire EQ section (all bands) on a channel:

With the main Channel Control menu shown in the Channel
Control displays, press and hold Default, then press the EQ
Channel Control encoder.
Toggling Control Between Q/Balance/Width
Freq and Q (BW) share the same encoder in each EQ band. The
built-in EQ and some plug-ins also provide Q (or BW/bandwidth)
for Analog EQ mode.
To adjust Q (or B/W):
.
Channel Control parameter mapping for analog EQ (built-in or
plug-in)
154
Channel
Control
encoder
Encoder
Rotate
Encoder Sel
Switch
Encoder IN
Switch
1
Low Gain
n/a
EQ band in/out
2
Low Freq
n/a
n/a
3
LoMid Gain
n/a
EQ band in/out
LoMid
Freq/Bandwidth
(B/W)
Toggles
Freq/Bandwidth
(B/W)
n/a
4
5
HiMid Gain
n/a
EQ band in/out
HiMid
Freq/Bandwidth
(B/W)
Toggles
Freq/Bandwidth
(B/W)
n/a
6
7
High Gain
n/a
EQ band in/out
8
High Freq/Q
n/a
n/a
1
Press the encoder Sel switch for the desired band to place that
encoder in Q (or B/W) mode.
2
Rotate the encoder to set the desired Q (or B/W).
Bell and Shelf Filters
S3L System Guide
The EQ filter type (Shelf or Bell) can be toggled for the Hi and Lo
on-screen.
To toggle between Bell and Shelf filters:

Click the on-screen Bell/Shelf selector for that channel.
The indicator LED at the bottom of that encoder’s ring indicates
filter type and Freq/Q mapping as shown in the tables.
On-Screen EQ Controls
3
• Turn an on-screen knob (Gain, Q/Bandwidth, or Frequency)
for each frequency band.
You can adjust the built-in 4-band EQ using dedicated on-screen
buttons for band in/out and bell/shelf toggling. When the Channel
Control section is in EQ mode, the on-screen EQ controls for the
currently selected channels have a green background.
• Click to toggle any on-screen EQ switch (EQ in/out, band
in/out, or bell/shelf).
• Click a displayed value and type a new value.
The software screen also provides the EQ Graph display to adjust
frequency and gain simultaneously.
In/Out
Q/Bandwidth
Bell/Shelf
Digital/Analog
Gain
Band in/out
• Drag up or down in a value display to increase or decrease
the value.
To reset an on-screen EQ parameter to its default value, do one of
the following:
• Alt-click the control, or hold the Default (Alt) switch and
click the control).
Hi
• Right-click the control and choose Reset.
Frequency
Q
Gain
Band in/out
Hi Mid
To reset the entire EQ section (all bands) on a channel, do one of
the following:
• Right-click anywhere in the EQ section on-screen (but not
directly on an encoder or button) and choose Reset EQ Sec-
Frequency
Q
Gain
Band in/out
Adjust the on-screen controls by doing one of the following:
tion.
Lo Mid
• Hold Default and click the on-screen EQ In button.
Frequency
Q/Bandwidth
Bell/Shelf
Gain
Band in/out
Using the EQ Graph Display
Lo
Frequency
The on-screen EQ graph lets you use the mouse to adjust frequency and gain for any available EQ band.
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
want to adjust:
EQ
graph
• Select an input channel.
– or –
• Select an output channel or Matrix mixer, then if necessary
click the Channel tab on the Outputs page.
Dragging handles in the EQ graph display
To adjust EQ on-screen using the Graph display:
1
Select a channel on-screen.
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.
• Drag a handle up or down to increase or decrease gain.
Clicking the Channel tab on the Outputs page
2
Click the EQ In switch to put the EQ in circuit.
Chapter 16: EQ 155
Adjusting EQ Plug-Ins
Graphic EQ for Outputs
EQ plug-ins can map their gain, frequency, and Q/bandwidth
controls to corresponding encoders in Channel Control.
Up to 16 built-in 31-band Graphic EQ can be inserted on any of
the output busses (Mains, Groups, Auxes, and Variable Groups)
and Matrix mixers. The Graphic EQ provides +/– 12 dB of gain
and constant Q.
Plug-ins that do not map directly to Channel Control encoders can be controlled using the Global Control encoders. See “Adjusting Plug-Ins Using Global Control” on
page 174.
To access plug-in EQ parameters in Channel Control:
Assigning a Graphic EQ to a mono channel uses one available
Graphic EQ. Assigning a Graphic EQ to a stereo channel uses
two available Graphic EQs. Controls for stereo EQs are linked.
1
Select one or more channels.
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
display the main Channel Control menu.
3
Under the display showing EQ, press the Channel Control encoder Sel switch so that it is lit.
Ch 1
1
Select an output channel or Matrix mixer.
2
On the Outputs page, click the 31-Band Graphic Equalizer tab.
3
Click the Graphic EQ selector and choose an available mono
or stereo Graphic EQ.
1
User
Input
EQ
CompLim
Exp
Lit EQ Channel Control encoder Sel switch
4
Press the Channel Control encoder under the display showing
EQ. Plug-in parameters are now mapped to the Channel Control encoders. Parameters in the displays are shown with an asterisk to mark them as plug-in parameters.
5
Press the Back switch again to reassign the built-in EQ parameters to Channel Control.
Selecting a Graphic EQ
The 31-Band Graphic EQ appears on-screen.
To bypass an inserted plug-in from Channel Control:

With the plug-in assigned to Channel Control, press the In
switch in the Channel Control navigation section. When lit, the
plug-in is in (engaged); when unlit, the plug-in is out (bypassed).
Top
Back
In
Page
Expnd
Page
Channel Control In navigation switch
For more information, see Chapter 17, “Plug-Ins.”
156
S3L System Guide
31-band graphic EQ
Enabling and Adjusting Graphic EQ
Graphic EQs are enabled and adjusted on-screen.
To enable the graphic EQ:
1
2
Target an Output bus with a Graphic EQ assigned. If no
graphic EQ is assigned, click the 31-Band Graphic Equalizer
tab on the Outputs tab and assign one using the Graphic EQ
pop-up menu.
Click the In-Circuit button on-screen to toggle in/out status.
When enabled, the In/Out switch LED lights.
Input Direct Mode
Input Direct mode lets you completely bypass the built-in dynamics and EQ processing, and all inserts on Input Channels and FX
Returns.
To toggle Input Direct model:
1
Select an input channel.
2
Click the Input Direct button in the (channel) Config section in
the upper right corner of the screen. When enabled, the Input
Direct LED lights.
Graphic EQ In-Circuit button
3
Click and drag the on-screen Graphic EQ band controls to
make adjustments as necessary.
Input Direct button
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:
Adjusting a Graphic EQ band
1
• To copy a 4-band EQ setting, right-click the on-screen EQ
section or EQ graph (not on an encoder) and choose Copy
EQ Settings.
Resetting Graphic EQ Parameters
To reset a band to its default setting, do one of the following:

Right-click the individual band fader on-screen and choose
Reset.

Alt-click the band on-screen.
Do one of the following:
– or –
• To copy a Graphic EQ setting, right-click the graphic EQ
display (not on a fader) and choose Copy GEQ Settings.
To reset the entire graphic EQ to flat:

Right-click anywhere in the Graphic EQ section on-screen
(but not directly on a fader) and choose Reset GEQ Section.
EQ Reset/Copy/Paste pop-up menu
2
Go to the channel where you want to paste the settings.
3
Do one of the following:
• To paste a 4-band EQ setting, right-click in the new channel’s EQ section or graph and choose Paste EQ Settings.
All EQ settings, including HPF settings, are copied to the
new channel.
– or –
• To paste a Graphic EQ setting, right-click in the new channel’s Graphic EQ section and choose Paste GEQ Settings.
Chapter 16: EQ 157
Presets for Built-In and Graphic EQ
You can store and load EQ settings to disk as Preset files. Presets
can be used with built-in and plug-in EQ processors, including
the graphic EQ. Preset files can be moved between systems and
used for other Shows.
To save or load a preset for the Graphic EQ:
1
Go to the Outputs page for the channel on which the graphic
EQ is assigned. If necessary, click the 31-Band Graphic Equalizer tab to display the graphic EQ on that channel.
2
Click the Presets folder icon (above the EQ bands, next to the
In-Circuit button).
Check the Factory Presets folder for pre-configured settings.
To save or load a 4-band EQ preset:
1
Adjust EQ parameters as needed.
2
In the on-screen EQ section, click the Presets folder icon (next
to the Lo band EQ controls).
Four -band EQ Presets folder icon (left)
3
Choose a Presets folder in the Folder display at the top of the
Presets window. If necessary, choose the appropriate Presets
folder by clicking and selecting it from the Folder pop-up
menu.
Graphic EQ Presets folder icon (right)
3
Choose a Presets folder in the Folder display at the top of the
Presets window. If necessary, choose the appropriate Presets
folder by clicking and selecting it from the Folder pop-up
menu.
4
Do any 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 in the Presets window title bar.
• To load a preset and close the Presets window, double-click
the preset.
• To save the current graphic EQ settings as a new preset,
click New and enter a name for the preset file.
• To cancel without changing settings, click Cancel.
4-Band EQ Presets window
For information about creating and transferring folders and
files, see Chapter 19, “Shows and File Management.”
4
Do any 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 in the Presets window title bar.
• To load a preset and close the Presets window, double-click
the preset.
• To save the current EQ settings as a new preset, click New
and enter a name for the preset file. All EQ settings, including HPF settings, are saved to the preset.
• To cancel without changing settings, click Cancel.
158
S3L System Guide
Control Ranges for Built-In 4-Band EQ (All Modes)
Table 3. Control ranges for built-in parametric EQ
Band
High
(Bell/Shelf)
High-Mid
Low-Mid
Low
(Bell/Shelf)
Control
Range (Digital)
Defaults (Digital)
Range (Analog)
Defaults (Analog)
Frequency
20 Hz to 20 kHz
10 kHz
2 kHz to 20 kHz
6 kHz
Gain
±18 dB
0 dB
±15 dB
0 dB
Q/Bandwidth
10 to 0.1
1.0
Shelf only
none
Frequency
20 Hz to 20 kHz
5 kHz
400 Hz to 8 kHz
2 kHz
Gain
±18 dB
0 dB
±15 dB
0 dB
Q/Bandwidth
10 to 0.1
1.0
0.1 to 2.0 octaves
0.2
Frequency
20 Hz to 20 kHz
1 kHz
100 Hz to 2 kHz
450 Hz
Gain
±18 dB
0 dB
±15 dB
0 dB
Q/Bandwidth
10 to 0.1
1.0
0.1 to 2.0 octaves
0.2
Frequency
20 Hz to 20 kHz
200 Hz
30 Hz to 200 Hz
80 Hz
Gain
±18 dB
0 dB
±15 dB
0 dB
Q/Bandwidth
10 to 0.5
1.0
Shelf only
none
Chapter 16: EQ 159
Chapter 17: Plug-Ins
This chapter explains how to configure plug-ins before a performance, and how to use plug-ins during a performance. Plug-Ins
can be inserted on all channels and bus outputs, or used as bus
processors for effects such as reverb and delay.
S3L systems support AAX DSP plug-ins only. For complete
information on S3L-compatible plug-ins, visit the Avid website (www.avid.com).
Using Config and Show Modes for Plug-Ins
The current system mode status (Config or Show mode) determines which plug-in functions are available.
Config mode is required to install plug-ins, assign them to rack
slots, and to establish side-chain routing. When in Show mode,
any operations that might interrupt audio throughput are locked
out and unavailable.
Plug-In actions that interrupt audio require Config mode.
For more information, see “Enabling Config Mode” on
page 17.0
Plug-Ins Quick Start
Before a performance, enable Config mode and do any of the following:
• Install plug-ins (see “Installing and Authorizing Plug-Ins” on
page 161).
• Assign plug-ins to racks and rack slots (see “Plug-In Racks”
on page 166).
• Assign plug-in input and output routing, including side-chain
routing (see “Routing Plug-Ins” on page 171).
Installing and Authorizing Plug-Ins
Plug-Ins are installed on your S3L system using a USB drive.
Plug-in installers are transferred to your USB drive, then installed
on the E3 engine. Plug-ins cannot be installed on the Standalone
software.
Because installing plug-ins can interrupt audio throughput,
always install plug-ins before a performance.
• View and adjust plug-ins from the S3 control surface or
on-screen (see “Adjusting Plug-Ins” on page 173).
• Save and load plug-in settings as Presets, or with snapshots
(see “Plug-In Presets and Snapshots” on page 175).
During a performance, do all of the following:
• Enable Show mode to “safe” (lock out) plug-in rack assignments and other plug-in rack operations that could interrupt a
performance.
• Patch channels and busses to available plug-ins, re-assign
plug-in routing, or re-assign existing side-chain routing.
• Adjust plug-in parameters from Channel Control, Global Control, or on-screen.
• Save and load plug-in settings as Presets, or within snapshots.
Transferring Plug-In Installers to USB
To transfer plug-in installers to a USB drive:
1
Make sure there is enough free space on the USB drive to accommodate all the software.
2
Unzip the downloaded software by doing the following, depending on your computer platform:
Mac Double-click the ZIP file containing the software to unzip it.
Windows Right-click the ZIP file containing the software, select
Extract All... from the pop-up menu, and in the ensuing dialog
click Extract.
3
In the unzipped files, locate the “AAX Plug-Ins” folder.
4
Copy the entire “AAX Plug-Ins” folder to the top (root) level
of the USB drive.
Chapter 17: Plug-Ins 161
Installing Plug-Ins
3
To install a plug-in:
1
• Choose Previous Installs to access any plug-in installers after a system update.
Insert the USB drive containing the plug-in installer(s) into an
available USB port on the E3 engine.
• Choose Console to access all factory-installed plug-in installers after a system update or a full system restore.
Plug-Ins cannot be installed using the USB ports on the S3
control surface.
2
• Choose an external storage device, as available, to access
plug-in installers on drives connected to the E3 engine.
Go to the Options page and click the Plug-Ins tab. The following two lists are shown (see Figure 1):
Plug-Ins to Install This list shows available 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 stored locally after plug-in installation, and appear as available items
when Previous Installs is selected from the Device selector. This
lets you re-install plug-ins without the original plug-in installer.
Device selector pop-up menu
4
Installed Plug-Ins This list shows all plug-ins already installed on
Figure 1. Options > Plug-Ins screen
S3L System Guide
Select a plug-in from the Plug-Ins to Install list on the left by
doing any of the following:
• Click to select a single installer.
the system. The plug-ins shown in plain text are available to process audio. Plug-Ins listed in italics are disabled and unavailable
(see “Enabling and Disabling Installed Plug-Ins” on page 164).
162
In the Plug-Ins to Install list, click the device selector pop-up
menu and do one of the following:
• Shift-click to select multiple consecutive installers.
• Control-click to select or deselect installers one at a time.
5
Click Install to install the selected plug-ins. Once installed, the
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 system.
Removing Plug-Ins
Deleting Uninstalled Plug-Ins
Uninstalling a plug-in removes the plug-in from the racks but the
installer remains in the Previous Installs cache, making it easier to
reinstall the plug-in at a later time without requiring the installer
media.
Once a plug-in is uninstalled, its installer can be deleted from the
system. (Plug-ins which are currently installed cannot be deleted).
To completely remove a plug-in and its installer:
The list of available plug-ins you see in VENUE software is updated automatically each time you load a Show file to keep
plug-in lists and menus uncluttered (see “Automatically Removing Plug-ins During Show Load” on page 164.)
You can also remove or delete plug-ins and/or their installers
manually. In order to completely remove and delete a plug-in and
its installer, you must explicitly Delete the plug-in, as described
in the following sections.
Installing, uninstalling, and deleting plug-ins are not supported using the Standalone software.
To uninstall a plug-in from the system but leave its installer
available:
1
Put the system in Config mode.
2
Go to Options > Plug-Ins.
3
Right-click the specific plug-in name from the right-hand list
and choose the Uninstall option for the selected plug-in.
1
Put the system in Config mode.
2
Go to Options > Plug-Ins.
3
Select Previous Installs from the Device selector.
4
Right-click the plug-in name and choose the Delete option for
the selected plug-ins. The plug-in is removed from the system,
and the stored plug-in installer is removed from the Previous
Installs list.
Installing Plug-Ins Manually
If a plug-in does not appear in the Plug-Ins to Install list, it may
not have a fully compatible VENUE installer and must be manually installed. This is required the first time you install the
plug-in, and whenever you need to re-install a plug-in (such as after using the System Restore software to update or reset the system).
A plug-in without a VENUE installer may still be compatible. Consult the plug-in manufacturer for compatibility information.
To install a plug-in manually:
1
Make sure all sound systems are shut down or muted.
2
Insert the USB storage device with the plug-in installer into a
USB port on the E3 engine.
To reinstall a removed plug-in:
3
Go to the Options page and click the System tab.
1
Put the system in Config mode.
4
2
Go to Options > Plug-Ins.
Hold the Ctrl key and click Shutdown on-screen. Follow
on-screen directions to exit to the Desktop.
3
Click the Device selector and choose Previous Installs.
5
Copy the plug-in installer to the partition called User Data.
6
Launch the plug-in installer application and follow any
on-screen directions. If prompted, do not restart the system
from a plug-in installer. (Doing so will not harm the system,
but will take longer, especially if you have multiple plug-ins to
install manually.)
7
Quit the installer application and eject the installer disc.
8
Click the Return to VENUE shortcut on the desktop to
re-launch the VENUE software.
9
Go to Options > Plug-Ins. Verify that the manually installed
plug-in appears in the Console list of available plug-ins.
Installed plug-in right-click menu
Choosing a Device
4
Select the plug-in and choose Install. If the desired plug-in is
not listed, it must be re-installed from the original CD-ROM or
other media.
Chapter 17: Plug-Ins 163
Authorizing Plug-Ins
A core set of plug-ins are installed on your S3L system. These
plug-ins do not require any authorization. Other plug-ins, such as
the S3L plug-ins downloaded from your Avid account and paid
plug-ins from Avid and our Development Partners, require authorization.
The S3L system supports iLok USB Smart Key authorization. Licenses that authorize the use of a plug-in are transfered from your
iLok account to your iLok. This lets you take your iLok and your
plug-in licenses anywhere, to use your plug-ins on any system.
After installing a plug-in, the system re-creates the list of available plug-ins. Whenever the racks initialize, the system checks
for all installed plug-ins. If an iLok with a license for an installed
plug-in is not connected to the E3 engine, you will be prompted to
try a demo version, or authorize the full version of the plug-in.
For more information on using iLoks, refer to the iLok Usage
Guide on the Standalone Software CD or at the Avid website
(www.avid.com).
To authorize a plug-in:
1
Automatically Removing Plug-ins During
Show Load
Plug-ins are verified during the Show file load procedure to
streamline plug-in lists and menus by automatically removing unused plug-ins (plug-ins that were once installed but subsequently
uninstalled or disabled).
In addition, the plug-in lists can be reset manually using the Remove Unavailable Plug-ins command. Plug-ins which are not
available and not in use in the rack are automatically filtered from
all plug-in menu lists when the show file is subsequently stored.
This filtered list is stored with the Show file.
Plug-ins which are not available but are in use will remain in the
rack and display a warning icon indicating the plug-in isn’t installed or is disabled. Such plug-ins appear as italicized entries in
the plug-ins menu lists.
Manually Removing Unavailable Plug-ins
from the Racks
Unavailable plug-ins can be easily removed from rack slots using
the Remove Unavailable Plug-Ins command.
When a plug-in authorization dialog appears, do one of the following:
To manually remove unavailable plug-ins:
• To try a demo of the plug-in, click Try.
1
Put the system in Config mode. Make sure the plug-in rack is
fully initialized (the Status indicator displays OK).
• To have the system recognize the required license on your
iLok, click Authorize. Insert your iLok into any available
USB port on the E3 engine when prompted.
2
Click the Plug-In selector in any rack slot and choose Remove
Unavailable Plug-Ins. This menu item is only available when
Follow the instructions on-screen to complete the software authorization process.
3
– or –
2
one or more unavailable plug-ins are present in the rack.
Click Remove to confirm the operation, or click Cancel.
If you proceed with the removal:
Enabling and Disabling Installed Plug-Ins
• All unavailable plug-ins are removed from the plug-ins
rack.
The Installed Plug-Ins list shows Disabled plug-ins in italics.
Plug-Ins can be manually disabled and enabled to manage DSP
resources, troubleshoot possible conflicts, and to manage plug-in
availability.
• The italicized entries for unavailable plug-ins are removed
from all plug-in menu lists.
To globally disable or enable a plug-in:
1
Click to select the plug-in name in the Installed Plug-Ins list, at
the right of the Options > Plug-Ins page.
2
Right-click the plug-in and select whether to disable or enable
the selected plug-in. If assigned to any rack slots, the plug-in
will be displayed as unavailable and inactive.
• All references to unavailable plug-ins are removed from the
Insert Processing section of all affected channels, and the
insert point plug-in is set to None.
• All references to unavailable plug-ins are removed from all
snapshots.
The new, updated list of available plug-ins is subsequently saved
to the Show file.
History File and Removing Plug-ins
A History file is written immediately before removing unavailable plug-ins from the rack, in order to provide a means of undoing the operation.
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S3L System Guide
Plug-in Version Checker
Using System Info to View Plug-in Version
Information
VENUE software includes a comprehensive database of plug-in
information, and this info can be used to greatly simplify the process of managing your VENUE plug-ins.
Plug-in version information is included in exported System Info
data.
Use this feature to get version details and compatibility information for a plug-in prior to installing, or after it has been installed
to help diagnose or troubleshoot plug-in performance.
Version checking also warns you when you are about to downgrade a plug-in (install an older version over a newer version).
In addition to using the plug-in version checker, also check
the VENUE plug-in tabs on the Avid website (www.avid.com)
for the most up to date information
The Plug-in sections of the exported System Info file show critical and recommended updates, with links to sites to download or
check for newer versions.
To use System Info for Plug-In Version Maintenance:
1
Insert a USB storage device into any available USB port on the
E3 engine.
2
Go to Options > System.
3
Click the Info button.
To view plug-in version information:
1
2
Go to Options > Plug-Ins.
Select a plug-in from either list (Plug-Ins to Install, or Installed
Plug-Ins).
Export VENUE System Information button in Options > System
4
Version information is not shown for a multi-selection. Select
an individual plug-in to view its version information.
• If you have more than one USB device connected, make
sure the correct USB device is selected. If it is not, click
Next Disk to cycle through each available disk until the correct one is selected.
The Info pane displays details about the currently selected
plug-in, including whether a newer version of the plug-in is available. If a new version is available, you can find out whether it is
a recommended update or a critical update. The following dialogs
appear if you choose to install older plug-ins:
• If you choose to install a plug-in for which there is a critical or
recommended update, a dialog appears asking you to confirm
the installation procedure.
• A similar dialog appears when attempting to replace an installed plug-in with an older version of the same plug-in. Follow the instructions on-screen to install anyway, or cancel.
Do any of the following:
• Click Save to proceed and export system info to the selected USB device.
• Click Cancel to dismiss the dialog without exporting.
5
Click OK to confirm the export procedure.
6
Remove the USB device. Transfer the exported file to a personal computer for printing, formatting, archiving or distribution.
7
If viewing the System Info document from a computer with Internet access, use the included links to check for plug-in updates.
USB Ports for iLoks
The E3 engine provides four USB ports, including a secure internal USB port. Use this port to keep one “master” iLok and its
plug-in assets with the system at all times, safe from damage or
loss. For more information, see 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.
Chapter 17: Plug-Ins 165
Plug-In Racks
The Plug-Ins page provides four plug-in racks. Each of the racks has five slots into which you can load a plug-in. The four different racks
can be viewed all at once, individually, and in varying zoom levels. You populate the racks by assigning plug-ins in rack slots.
Plug-In racks
Zoom Toggle
Presets
Push-pin
Rack slots
Figure 2. Plug-In racks and rack slots, Main view, with custom rack names shown.
Naming Plug-In Racks
Zoom View (Plug-In View Mode)
By default, the racks are named Rack 1, Rack 2, Rack 3, and
Rack 4. You can rename each rack as needed.
In Zoom view, a single rack remains on-screen to the left, and the
rest of the screen displays the targeted plug-in.
To rename a plug-in rack:
1
Double-click the rack name to highlight it on-screen.
2
Type a new name and press Enter. To return a rack to its default
name, leave the name blank and press Enter.
Plug-Ins can be placed in any rack slot. Use the different
racks to organize processing functions such as Dynamics, Vocal FX, Reverb, or Group Inserts.
Rack Views
The Plug-Ins page can be displayed in Full or Zoom views.
Full View
The default view of the rack screen is Full view, in which all four
racks are shown (see Figure 2). This screen provides access to all
rack slot controls and shows an icon representing each assigned
plug-in. This lets you quickly see what plug-ins are available, and
adjust their routing.
Plug-In display
View Toggle
Zoom view, with a plug-in window open on-screen
To toggle Full or Zoom view modes, do one of the following:

Click the View toggle switch (upper right corner of the rack).
– or –

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S3L System Guide
Double-click a plug-in icon in any rack view to open that
plug-in window in Zoom view.
“Jump To” Plug-Ins
Pinning a Plug-In View
You can “jump to” a specific plug-in insert from the Input and
Output pages to adjust it on-screen in the Zoom view of the
Plug-In page.
You can decouple the plug-in view for consistent and constant access to a single plug-in on-screen, while still being able to select
and adjust other plug-ins from the S3 control surface. Pinning a
plug-in view is useful any time you want to always display an important plug-in (such as an analysis plug-in or primary EQ).
To jump to a plug-in insert from the Inputs or Outputs screen:
1
Select a channel to display it in the Inputs or Outputs screen.
2
Click the plug-in name shown in the channel Inserts section.
Jumping to a plug-in on a channel insert
To jump to a plug-in on a bus:
1
Bank to the FX Return or other channel type assigned as the
plug-in output, or bank to the output feeding the plug-in.
2
Select the channel to display it in the Inputs or Outputs screen.
3
Click the routing displayed beneath the Channel Name.
To pin a plug-in view:
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).
2
Click the Push-Pin icon in the upper-right of the screen (the
icon is located just to the left of the Presets and View Toggle
icons.
• When enabled, the Push-Pin icon appears lit. This indicates
that the current plug-in will remain on-screen and will not
lose focus, even if another channel is targeted.
• When not enabled, the Push-Pin icon appears unlit. Plug-in
view follows control surface selections.
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 you
select a channel, the last selected plug-in for that channel is automatically selected and displayed in the Plug-Ins screen.
Bus-Fed Plug-Ins If no plug-ins are inserted on a channel (such
as when returning a bus-fed plug-in to an FX Return) the plug-in
feeding that FX Return is displayed.
Chapter 17: Plug-Ins 167
Identifying Rack Slots
Unavailable Plug-Ins
The racks indicate which plug-in is currently targeted by highlighting its rack slot controls in blue.
When a plug-in cannot be used because of insufficient DSP resources, because it is disabled, or because it is not installed on the
system, a warning icon is shown in front of the affected plug-in.
The plug-in icon is grayed out, and the rack slot Power switch displays a yellow switch LED.
Highlighted rack slot indicating targeted plug-in
Indication of an unavailable plug-in
Within each rack slot, color outlines appear around each plug-in
to indicate the type of plug-in currently targeted on the control
surface. The following colors are used:
For more information, see “Installing and Authorizing Plug-Ins”
on page 161.
Inactive Plug-Ins
Color
Outline
Indication
Green
An EQ plug-in is mapped to S3 control surface controls
Blue
A Comp/Lim plug-in is mapped to S3 control surface
controls
Yellow
An Exp/Gate plug-in is mapped to S3 control surface controls
Red
A plug-in is mapped to the Global Control encoders
(Insert mode)
When a plug-in has been manually made inactive, the plug-in
icon is grayed out. Plug-Ins can be made inactive manually, letting you retain their assignment and settings in the rack while
freeing up their DSP resources for other tasks.
Indication of an inactive plug-in
Display of Unavailable or Inactive
Plug-Ins
It is possible for a plug-in to be displayed in a rack slot but be unavailable for channel and bus processing. This can occur in any of
the following circumstances:
• There are not enough DSP resources available for the
plug-in.
• The assigned plug-in is part of the show file but is not installed on the current system.
For more information, see “Activating and Deactiving Plug-Ins”
on page 170.
Scope Indication in the Plug-Ins Page
The Plug-In Rack provides visual indication whenever a plug-in
is scoped in the currently targeted snapshot. The Snapshot pop-up
menu turns red whenever that plug-in is scoped by the currently
targeted snapshot.
• The plug-in has been disabled manually.
Place the cursor over the Tool Tips icon to see an explanation of why the plug-in is not available. To view DSP resource allocation, see “DSPs Available for Plug-Ins” on
page 58.
Indication of a scoped plug-in
For more information, see “Plug-In Presets and Snapshots” on
page 175.
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S3L System Guide
Channel Insert or Bus Output The Channel Insert/Bus Output
Rack Slots
Each rack provides five plug-in slots. You can assign any installed plug-in to any available rack slot.
Current routing assignment
Input (source)
Channel Insert
or Output
Plug-In selector
Power
In/Out
Snapshots
Assigned plug-in
pop-up menu displays different choices depending on whether
the plug-in is being used as a channel insert, or as a bus processor,
as follows:
• If the plug-in is being used as a channel insert, the Channel
Insert selector shows the four insert points on that channel
(1–4). The letter “I” is shown before the insert number (for
example, I–1 indicates the current plug-in is inserted into
the first insert position on its channel).
• If the plug-in is being used as a bus processor, the menu becomes the Output selector used to select the destination for
plug-in output.
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 manage plug-ins:
Power (Config Mode Only) Power turns the rack slot on or off.
When off, the plug-in consumes no DSP.
In/Out (bypass) The In/Out switch takes the rack slot in or out of
circuit (bypasses the slot and any plug-in assigned to it).
Input The Input pop-up menu determines plug-in input (source).
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
more information, see “Routing Plug-Ins” on page 171.
Once a plug-in has been routed, its input source is displayed in the
Input area of each rack slot, as follows:
• If the plug-in is being used as an insert, the channel or bus
name and number is shown, for example, Kick (Ch 1) or
Aux (1–2). The Channel Insert/Bus Output selector automatically switches to Channel Insert mode, showing the insert point occupied by the plug-in.
• If the plug-in is on a bus, the selected bus source is shown in
the Input selector, for example, Aux 1 or Grp 1. The Channel Insert/Bus Output selector can be used to assign the output routing of the plug-in to a channel or bus.
Channel Insert
Bus Output
A mono plug-in inserted on a channel (at left) and a stereo plug-in
assigned as a bus processor (at right)
Plug-In Selector The Plug-In selector displays a list of available
plug-ins to load into that rack slot. Plug-Ins are arranged by process type (such as EQ, Dynamics, and Delay). For more information, see “Routing Plug-Ins” on page 171.
Snapshots Menu The Snapshots menu provides tools to manage
snapshot-related plug-in features from within the Plug-Ins screen.
Using the Snapshots menu, you can quickly check to see which
existing snapshots refer to the current plug-in, as well as create,
update, or remove snapshots.
Side-Chain Selector The Side-Chain selector appears near the
top of the Rack view when you select a plug-in that supports
side-chain or “key” input. In Config mode, the Side-Chain selector lets you establish a side-chain routing to the plug-in. Once established, you can route and re-route side-chain signals in both
Config and Show mode. For more information about side-chain
signals, see “Side-Chain Routing” on page 173.
Chapter 17: Plug-Ins 169
Assigning Plug-Ins to Rack Slots
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
insert or bus processor.
Before a plug-in can be assigned, it must be installed. See
“Installing and Authorizing Plug-Ins” on page 161.
To assign a plug-in:
1
Put the system into Config mode.
2
Go to the Plug-Ins page.
3
Click the Plug-In selector on an empty rack slot. (You can also
use an already assigned rack slot to change a plug-in assignment.).
Moving and Copying Plug-Ins
(Config Mode Only)
To move or copy a plug-in from the rack, drag the plug-in icon to
a new rack slot. A pop-up menu appears offering three choices:
Cancel, Copy Plug-In Here, or Move Plug-In Here.
Moving a Plug-In
When you move a plug-in from one rack slot to another, the
plug-in type, in/out state, power on/off, current plug-in settings,
and routing are maintained. In addition, all associated snapshots
are updated to reflect the new rack position.
Copying a Plug-In
When you copy a plug-in to a new rack slot, the source plug-in
type, in-circuit state, active state, and current plug-in settings are
copied to the destination rack slot. However, the source plug-in
routing is not copied. In addition, plug-in snapshots are not copied.
Overwriting An Existing Plug-In
Clicking the Plug-In selector
4
Choose an available plug-in from the Plug-In selector
sub-menus. Only plug-ins that are installed will be available.
When either moving or copying, if there is an existing plug-in located in the destination rack slot, that plug-in is deleted. When the
plug-in located in the destination rack is deleted, any routing or
references in existing snapshots to the deleted plug-in will be automatically 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 a plug-in is unavailable (and
inactive), the Power switch is lit yellow.
Plug-In selector menus
If the plug-in is not installed or there are insufficient DSP resources available, the plug-in will appear as unavailable, or inactive.
Place the cursor over the plug-in to display a Tool Tip that
explains why the plug-in is unavailable or inactive.
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/stereo or multichannel out).
Mono Can be used as inserts only in mono strips or mono Auxes,
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
Other (Mono In/Stereo Out) Can be used on busses for delay, re-
verb, and similar processing.
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S3L System Guide
Rack slot power switch
Routing Plug-Ins
After a plug-in has been assigned to a rack slot, you can specify
its routing. Plug-In routing determines whether the plug-in is
used as a channel insert or as a bus processor.
To insert a plug-in on a channel from the Plug-Ins page:
1
Make sure the plug-in is already assigned to a rack slot. (See
“Assigning Plug-Ins to Rack Slots” on page 170.)
2
Click the Input (source) selector in the rack slot and choose a
channel from its Inserts sub-menus.
Inserting Plug-Ins on Channels
Each S3L system input channel, output bus, and Matrix mixer
provides two slots for plug-in inserts. Signal from the channel is
routed to the insert and returned to the same channel. You can assign plug-ins to specific channel insert points from the Plug-Ins
screen or from the Input screen.
To insert a plug-in on a channel from the Inputs or Outputs page:
Clicking the Input source selector to show the source sub-menus
1
Go to the Inputs or Outputs page.
2
Click the first available Inserts selector.
The rack slot automatically identifies and connects to the first
available insert slot on the selected channel. The Channel Insert
selector shows the current insert position. In the figure below, I-2
indicates the plug-in is in the second insert slot of channel 1.
Clicking the Inserts selector
3
Choose an available plug-in from the rack sub-menus. All currently available plug-ins of a compatible mono/stereo format
are listed in the sub-menus. Plug-Ins that are unavailable are
listed in italics. Plug-Ins that are already assigned as channel
inserts are shown with their insert assignment.
Channel Insert selector
If no insert slots are available on the channel, the selector displays
a question mark.
Clicking the Channel Insert selector (top)
4
The plug-in appears in the Inserts list for that channel.
An assigned channel insert
5
To open the window for an inserted plug-in, click its name in
the channel Inserts list.
Chapter 17: Plug-Ins 171
Routing a Plug-In as a Bus Processor
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, Monitor output, or an Input Channel Direct Out as the plug-in input
source, then assigning the output of the plug-in to an Input Channel or FX Return, or to a hardware output, as follows:
When a bus-fed plug-in has both its input source and output assigned, it appears similar to the following in the rack:
• 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 hardware output for specialized
processing needs (such as feeding an external crossover).
You assign plug-ins for bus processing from the Plug-Ins screen.
To use a plug-in as a bus processor:
1
Go to the Plug-Ins page.
2
Make sure the plug-in is installed and assigned to a rack slot.
3
Click the Plug-In Input selector at the top of the corresponding
rack slot, and choose an available bus from the Input
sub-menus.
A bus-fed plug-in shown in the rack
Routing Channel Direct Outs to Plug-Ins
You can route the Input channel Direct Outs to plug-ins. This lets
you directly feed plug-ins from individual channels to preserve
Aux busses for other uses, with control over send level using the
channel Direct Out level control.
Assigning a channel Direct Out as a plug-in input source in the
Plug-Ins page
Assigning plug-in Input source to a Group bus
4
Click the Plug-In Output selector and choose an Input Channel, FX Return or hardware output.
When routing a plug-in with a stereo output to an Input
Channel, make sure the Input Channel is a stereo channel.
See “Make Selected Mono Strips Stereo/Make Selected Stereo Strip Mono” on page 48.
Assigning plug-in output to an FX Return
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S3L System Guide
When a channel Direct Out is routed to a plug-in, it follows the
pickoff setting for that specific Direct Out (as set in the Patchbay), 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.
If you do use a Direct Out to feed both a hardware output
such as a Pro Tools recording option as well as a plug-in, be
aware that any adjustments to that Direct Out affect both the
output signal and the signal fed to the plug-in.
Side-Chain Routing
S3L supports sidechain (key) processing for plug-ins that support
side-chain triggering.
Side-chain routing is not stored in snapshots.
The Side-Chain selectors appear across the top of the plug-ins
screen. You must be in Config mode to establish or remove a
side-chain assignment. Once established, side-chain routing can
be changed (but not added or removed) in Show mode.
Adjusting Inserted Dynamics and EQ
Plug-Ins
To access plug-in EQ, Comp/Lim, or Exp/Gate parameters in
Channel Control:
1
Select a channel with an EQ or Dynamics plug-in inserted.
2
Make sure the Channel Control main menu is shown in the
Channel Control encoder displays.
3
Press the Channel Control encoder Sel switch under the display showing EQ, Comp/Lim, or Exp/Gate so it is lit.
Input
EQ
CompLim
ExpGate
Aux 1-
Click to select Click to specify
Key (side-chain) side-chain pickoff
source
Side-Chain controls
To assign side-chain routing to a plug-in:
Channel Control encoder Sel switch
1
Select a plug-in that supports side-chain processing.
4
2
Put the system into Config mode to display the Side-chain
tools.
3
Choose the side-chain source signal from the Key Source
pop-up menu.
4
Press the corresponding Channel Control encoder. Plug-in parameters are now available on the Channel Control encoders.
Input
EQ
CompLim
ExpGate
Aux 1-8
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.
Channel Control Inserted Dynamics and EQ plug-ins can be se-
For more information, see Chapter 17, “Plug-Ins.”
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.
On-Screen Plug-Ins can be adjusted in the on-screen Plug-Ins
page.
Chapter 17: Plug-Ins 173
Adjusting Plug-Ins Using Global Control
(Insert Mode)
Selecting the Inserts Global Control encoder places Global Control into Insert mode. In Insert mode, plug-in parameters are assigned to the eight Global Control encoders and their corresponding In and Sel switches.
Adjusting Plug-Ins On-Screen
To adjust a plug-in on-screen:
1
Select a channel.
2
Go to the Plug-Ins page.
3
Double-click a plug-in icon in 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:
• If the desired plug-in is being used as a channel insert, select the channel or bus on which the plug-in is inserted.
• If the desired plug-in is being used as a bus processing
plug-in, bank to and select the FX Return or other channel
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, Monitors
Mains).
Press the < Page Global Control Navigation switch as necessary to return to the main Global Control menu.
3
Do one of the following:
• To access the first plug-in on that channel, press the Global
Control encoder under the display showing Inserts.
Zoom view, with a plug-in window open on-screen
4
– or –
• To access the second plug-in, press the Global Control encoder Sel switch under the display showing Inserts.
Plug-in parameters are assigned to the eight Global Control encoders.
The mapping of plug-in parameters to encoders varies by
plug-in. The function of each encoder and its switches is indicated in the corresponding display.
4
To reset a parameter to its default value, hold Default/Alt
while rotating or pushing an encoder.
5
To adjust with greater resolution, hold Fine while rotating an
encoder.
6
If applicable, press the < Page or Page > Global Encoder Navigation switch to bank to other plug-in parameters.
Adjust the parameters for the plug-in appearing in the window
as desired.
Bypassing Plug-Ins
Plug-Ins can be bypassed on-screen in the Inputs or Outputs page
and from the Plug-Ins page.
To toggle a plug-in on/off (in/out of circuit):
1
Select the channel on which the plug-in is inserted.
2
Go to the Inputs page and click the in/out button next to the desired plug-in to toggle it in/out of circuit. When the button
LED is lit, it indicates that the plug-in is in-circuit. When unlit,
the plug-in is out-of-circuit (bypassed).
An engaged plug-in (top) and a disengaged plug-in (bottom)
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S3L System Guide
Plug-In Presets and Snapshots
You can save and load plug-in Presets files to import, export, and
transfer plug-in settings files.
Snapshots can also be used to automate changes to plug-in routing and settings.
Presets can be applied to multiple Shows, while snapshots apply only to the Show file in which they are stored.
Presets
Presets are files that you can create to save, load, archive and
transfer custom plug-in settings. You can then create your own
Preset folders to organize Preset files. Preset folders and files can
be transferred using the Filing page.
To create a custom Presets folder:
1
Go to the Filing page and click the Transfer tab.
2
Click the Preset Folders icon.
3
Click the New button at the left of the screen.
4
Do one of the following:
• To leave the folder at its default name, press Enter.
– or –
• Type a new name and press Enter.
To save a Preset:
1
Adjust the plug-in parameters as desired.
2
Click the Presets icon in the Plug-Ins screen.
3
In the Presets window, click New.
4
Enter a custom name for the Preset.
To load a Preset into a plug-in:
1
2
Make sure the presets are already transferred and available on
the current system. (Many plug-ins come with factory presets
that will be installed along with the plug-in.)
Select the channel containing the plug-in, and target the desired plug-in (press the Insert Mode switch, or click the plug-in
on-screen).
Snapshots
Snapshots can automate plug-in settings, including routing, and
in/out state. (Side-chain routing is not supported in Snapshots.)
Snapshots can also store and recall Tempo.
Snapshots do not store or recall Presets. Snapshots store
plug-in settings as they were when the Snapshot was created
or saved.
Each rack slot in the Plug-Ins screen provides a Snapshot menu,
with shortcuts for common snapshot-related tasks:
• Create a new snapshot
• Add one or more plug-ins to the MIDI/Plug-Ins list, and automatically re-scope the snapshot to include plug-ins.
• Remove plug-ins from one or more snapshots
Snapshots Containing this Plug-In Lists all currently loaded
snapshots referencing the plug-in, in sequential order. Choose a
snapshot to load it. (This menu option is useful for targeting snapshots while editing plug-in racks.)
Create New Snapshot Containing this Plug-In Adds a new snapshot to the snapshot list in which only plug-ins are scoped. This
snapshot is inserted immediately after the currently targeted
snapshot, which may not necessarily be the last snapshot. The
snapshot is named to reflect the plug-in rack position, for example: “PI 1-1: Reverb One” is a Reverb One plug-in assigned to
rack 1, slot 1.
Add (or Update) this Plug-In to Snapshot Adds a plug-in refer-
ence, with current settings, if the currently targeted snapshot does
not already reference this plug-in. If the currently targeted snapshot already references this plug-in, the choice is Update (see
next). If multiple snapshots are selected, this command changes
to “Add Plug-In to Selected Snapshots” for batch-assignment.
Update this Plug-In in Snapshots Updates snapshots with current settings, if the currently targeted snapshot (or currently selected snapshots) already references this plug-in.
Remove this Plug-In in Snapshot Removes reference to this
plug-in from the currently targeted snapshot, or from all currently
selected snapshots.
See Chapter 20, “Snapshots.”
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.
With the Presets list displayed, do any of the following:
Each snapshot can store a custom tempo value. You can use the
Tempo Enable icon to enable or disable tempo recall when the associated snapshot is recalled, letting you automate delay times in
plug-ins that support Tempo Sync. See “Adding Tempo Data to
Snapshots” on page 209.
• To scroll through the list, press Up or Down arrow keys on
your computer keyboard.
• To load a preset and close the Presets list, double-click a
name in the Presets list.
• Click Cancel to close the Presets list without changing settings.
Chapter 17: Plug-Ins 175
Plug-Ins and VENUE Standalone Software
You can use VENUE Standalone software to pre-configure
plug-in routing and in/out state, with the following limitations:
• Plug-Ins cannot be installed in the Standalone Software.
• A Show file must be transferred from a system on which
plug-ins were previously installed.
Once a Show file containing plug-ins has been transferred to the
standalone software, the following rules apply:
• Plug-Ins can be placed in racks and routed in Standalone
mode.
• Snapshots can be created, loaded, and stored.
• Plug-In settings cannot be adjusted.
• Plug-In Presets cannot be saved or loaded.
Plug-In Levels
Meter levels on the S3L system are displayed in dBVU, with
0 dBVU =+4dBu analog out = –20dBFS.
Internally, the S3L system provides up to 32-bit processing for
built-in EQ, dynamics, and plug-ins, and up to 44-bit processing
for built-in GEQ, with level matching circuitry and logic ensuring
maximum fidelity and sonic performance throughout the entire
signal path. Due to variances in how plug-in metering is implemented by different manufacturers, performance may vary with
regard to plug-in gain reduction meters and their relative levels.
When using side-chain routing, be aware of potential level differences between Input Channel pickoff points. For more information, see “Using the Sidechain” on page 148.
Plug-In DSP Usage
Plug-In Latency and Processing Delay
Plug-Ins utilize DSP resources when they are assigned to a rack
slot, and that rack slot is powered on. The S3L system provides
four DSPs for plug-ins (DSPs 9–12).
Plug-In latency includes processing delay of the plug-in itself
plus routing delay, as follows:
Plug-In availability is limited to available DSP resources. Certain
plug-ins use more DSP resources than others. You may not be
able to instantiate a plug-in if there are not enough DSP resources
available. You can turn off unused plug-ins to reclaim their DSP
by making them inactive, or by removing them from the system.
You can view plug-in DSP usage on the Options > Devices page.
• Instance delay: 2 samples per plug-in
• DSP routing delay: 3 samples
Viewing Plug-In Latency
Cumulative channel processing delay can be viewed by
right-clicking the Inserts area of the selected channel. The cumulative delay includes latency reported by all inserted plug-ins, signal routing and the known hardware insert delay, if applicable.
To view plug-in DSP usage:
1
Go to Options > Devices.
2
In the Engine section, locate the DSP usage window.
3
Scroll to the bottom of the window, so that DSPs 9–12 are visible. The currently active plug-ins and the DSPs they are allocated to are shown.
Initializing the Plug-In Racks
The racks are initialized (or re-initialized) whenever the system is
first powered on, whenever the system is restarted, after installing
a plug-in, and after disabling or re-enabling a plug-in.
While the racks are initializing, they are offline and do not process audio. Avoid performing any Filing or Transfer functions
until the racks are finished initializing. Rack status is displayed
on-screen in the banner display.
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S3L System Guide
Viewing cumulative delay by right-clicking the Inserts section
Individual plug-In processing delay can be seen by right-clicking
the plug-in icon in the rack. Use the number reported when calculating latency for manual delay compensation.
Examples
If there is only one plug-in on a channel, the total delay will be the
amount of plug-in latency + 2 + 3. (2 samples for the one plug-in
instance, plus 3 samples for the DSP routing to the racks and
back.)
If you have two plug-ins on a channel or bus, the delay will be
plug-in #1 latency + 2 + plug-in #2 latency + 2 + 3. If plug-in #1
has 12 samples of latency, and plug-in #2 has 15, total latency
will be 34 samples (12 + 2 + 15 + 2 + 3).
Chapter 18: Hardware Inserts
This chapter explains how you can connect external analog and
digital hardware to the analog and digital I/O on the S3 control
surface and the E3 engine for use as hardware inserts. Hardware
inserts can be used for external processing on individual Input
Channels, FX returns, Mains, Groups, Auxes, and Matrixes.
Assigning Hardware Inserts to
Channels
You can assign hardware inserts directly from the Inputs or Outputs page, or from the Patchbay.
To use external hardware as inserts, you must do the following:
Input and output levels to and from devices assigned as
hardware inserts are automatically set to 0 dB, and cannot
be changed in VENUE. Set trims on the device itself.
• Connect external hardware
• Assign hardware inserts to channels
• Activate the insert
To assign a hardware insert to a channel or bus:
• Set the hardware insert location
1
Connecting External Hardware
External hardware is made available to the system by connecting
its inputs and outputs to input and output connectors on the S3
control surface or the E3 engine. Hardware inserts can then be inserted on channels similarly to inserting plug-ins.
To connect outboard gear for use as a hardware insert:
1
Connect the inputs of the external device to analog output connectors 1–4 on the E3 engine or the S3 control surface, or digital connectors AES Digital 1/2–3/4 on the E3 engine.
2
Connect the outputs of the external device to the corresponding input connectors on the E3 engine or the S3 control surface. For example, signal taken from E3 engine AES Digital
output 1/2 must be returned to E3 engine AES Digital
input 1/2.
Digital inputs on the E3 engine offer sample rate conversion.
For more information, see “About Digital Input and Sample
Rate Conversion” on page 235.
2
Go to the Inputs or the Outputs page and select the channel on
which you want to insert the external device.
In the Inserts section, do one of the following:
• Click the Hardware Insert pop-up menu and choose an insert destination directly from the menu. The name of the
hardware insert destination appears in the on-screen Hardware Insert button.
– or –
• Click the Hardware Insert button to “jump” to the Inserts
tab of the Patchbay, and assign the insert from the Patchbay.
Clicking to show the Hardware Insert pop-up (left), clicking to “jump” to
the Patchbay > Inserts page
Chapter 18: Hardware Inserts 177
To assign a hardware insert from the Patchbay:
1
Go to the Patchbay page and click the Inserts tab. Engine and
Console hardware tabs are shown.
2
Click the Channels, FX Returns, or Outputs tabs to show the
desired channel types in the grid. If you jumped to the patchbay from the Inputs or Outputs page, the appropriate Channel
Type tabs are automatically enabled.
3
Click in the channel grid to assign the insert input/output number (listed across the top) to the channel where you want to assign the insert (listed on the left).
Activating and Bypassing Hardware
Inserts
You can toggle hardware inserts in/out on-screen.
Before activating a hardware insert, be sure that you have
connected the external unit to your S3L system. If you activate the hardware insert and audio on that channel is not
present, double-check your cabling to make sure it is connected correctly.
To activate or bypass a hardware insert on-screen.
1
Go to the Inputs or Outputs page and select the channel where
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
The name of the channel and its destination at the current cursor
location. is shown above the patching grid. The Insert location is
also displayed in the Inserts section in the Inputs or Outputs tab.
You can choose the location of the hardware insert in the signal
path relative to the two plug-in inserts, for each channel.
To set the hardware insert location:
1
Go to the Inputs or Outputs page and select the channel where
you want to set the hardware insert location.
2
In the Inserts section, click the hardware insert indicator in one
of the three available locations so that it lights red.
Figure 3 shows the hardware insert located in the signal path
before (pre) the first plug-in (left), and after (post) the first
plug-in (right).
Reassigning Hardware Inserts
If a Console analog input 1–2 (XLR inputs) or an E3 engine analog input 1–4 is currently assigned to an input channel and then
reassigned as a hardware insert, the gain on that input is automatically set to 0 dB.
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 3. Hardware insert indicator showing the hardware insert as
before he first plug-in (left), and after the first plug-in (right)
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S3L System Guide
Part VI: Shows
Chapter 19: Shows and File Management
Data can be stored, recalled and transferred between VENUE
systems. There are three types of information files that can be
managed separately, as follows:
Creating Show Folders
To create a new Show Folder:
1
Go to the Filing page and click the Save tab.
tem settings, snapshots, and events.
2
In the Show Folders column, click the New button.
Preset Files These files are used to store settings for channel
3
Type a name for the Show Folder and press Enter.
strips, built-in processors and plug-ins, and Recall Safe Scope
Sets.
Duplicating Show Folders
Console Setting Files These files are used to transfer or back up
To duplicate a Show Folders:
the current state of the S3L system.
1
In the Show Folders column, click a Show Folder name to select the folder.
2
Click the Duplicate button.
Show Files These files are used to store, recall and transfer sys-
The system does not need to be in Config mode to carry out
many file management tasks. However, the system must be in
Config mode to load Shows. This minimizes the chance of an
accidental interruption of audio throughput.
The folder and all of the Show files it contains are duplicated.
You can also duplicate folders by right-clicking a Show
Folder name and choosing Duplicate.
Creating Shows
A Show file contains all configuration, signal routing, mixer settings, plug-in information, snapshots, and other operational settings. Shows are grouped together in Show Folders.
Renaming Show Folders
To rename a Show Folder:
1
In the Show Folders column, click a Show Folder name to select the folder.
2
Click the Rename button.
Show Folders
Show Folders contain Show files. You can create and manage
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.
3
Type a new name for the Show Folder and press Enter.
Deleting Show Folders
When you delete a Show Folder, all Show files contained in that
folder are also deleted.
To delete a Show Folder:
Show Folders and Show files in the Save tab of the Filing page
1
In the Show Folders column, click a Show Folder name to select the folder.
2
Click the Delete button.
You can also right-click a Show Folder name and choose Delete to delete the folder.
Chapter 19: Shows and File Management 181
Show Files
Renaming Show Files
Creating and Saving Show Files
To rename a Show file:
When you create a new Show file, it captures the current state of
the system. Show files are automatically saved when they are created or overwritten.
1
In the Shows column, click a Show file name to select it.
2
In the Shows column, click the Rename button.
You can also right-click a Show file name and choose Rename, or double-click the Show file name to rename the
file.
To create a new Show file:
1
Go to Filing > Save.
2
In the Show Folders column, select the Show folder where you
want to save the Show.
3
In the Shows column, click the New button. The new Show file
captures the current state of the system.
3
Type a new name for the Show file and press Enter.
Deleting Show Files
To delete a Show file:
4
Type a name for the Show file and press Enter.
1
In the Shows column, click a Show file name to select it.
5
Double-click in the Notes field for the Show and type any
comments you want to save with the Show.
2
In the Shows column, click the Delete button.
You can also right-click a Show file name and choose Delete to delete the file.
Information about the Show file is shown in the Info area of the
Filing page.
Show files are automatically saved when they are created; no
further action is required to save them.
To update (overwrite) an existing Show file:

In the Shows column, right-click the Show file name you want
to overwrite, and choose Overwrite from the pop-up menu. The
current state of the system is saved to the selected Show file.
Loading a Show
You can load a Show file using the Load tab of the Filing page.
Show files are stored locally on your system. Show files can be
stored on USB drives, but must first be transferred to the system
before loading (see “Transferring Settings, Shows and Presets”
on page 185). The system must be in Config mode to load Shows.
Loading a Show automatically replaces the current system
settings with those of the loaded Show, and may interrupt audio throughput.
Right-clicking a Show file name in the Shows column
Duplicating Show Files
To duplicate a Show file:
1
In the Shows column, click a Show file name to select it.
2
In the Shows column, click the Duplicate button.
You can also right-click a Show file name and choose Duplicate to duplicate the file.
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S3L System Guide
Show Folders and Show files in the Load tab of the Filing page
To load a Show file:
1
Put the system into Config mode.
2
Go to the Filing page and click the Load tab.
3
In the Show Folders column, click a Show Folder name to select the folder. Any Show files in the folder are displayed in the
Shows column.
4
In the Shows column, click a Show file name to select it.
5
Click the Load button. The system loads the new Show file, replacing the current system configuration, routing, and control
settings with those contained in the new file.
System Configurations and Loading
Shows
Show files include system configuration settings such as the type
of control surface; the number of Mix Engines; Number of Input
Channels, FX Returns, and EQs; Aux and Group Bus configurations).
• If a Show file includes the same system configuration settings
as the current configuration, the configuration information appears in blue text in the Info area.
• If a Show file differs from the current configuration, but can be
loaded on the system, the relevant configuration changes appear in orange text in the Info area. When the Show file is
loaded, the system restarts in the new configuration.
• If a Show file differs from the current configuration and cannot
be loaded on the system in its entirety, the configuration information appears in red text in the Info area.
Preset Folders
Preset Folders contain Preset files. Each of the built-in processors
(Compressor/Limiter, Expander/Gate, 4-band EQ, 31-band
Graphic EQ) and each plug-in has its own Factory Defaults
folder. Additional folders are provided for Scope Sets.
You can create additional Preset Folders for each processor or
plug-in and store new Presets in them. These folders can then be
transferred to a portable storage device for transfer to other
VENUE systems.
Creating Preset Folders
To create a new Preset Folder:
1
Go to the Filing page and click the Transfer tab.
2
Click the Preset Folders icon. A list of Preset Folders appears
in the left column.
If a Show configuration is too large for the current system, mix elements 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 files are grouped in the following
types of Preset Folders:
Built-in 4-band EQ, 31-band Graphic EQ, Compressor/Limiter,
Expander/Gate, and Input Channel Presets
Plug-In Plug-ins Settings Files
Scope Sets Settings for Recall Safe configurations
For information on saving, previewing and loading built-in
dynamics and EQ presets, see Chapter 15, “Dynamics” and
Chapter 16, “EQ.” For plug-in settings, see Chapter 17,
“Plug-Ins.” For Scope Sets, see Chapter 20, “Snapshots.”
For Input Channel Presets, seeChapter 4, “Banking and Selecting Channels”,
Preset Folders icon in the Transfer tab of the Filing page
3
In the left column, click the New button.
4
Type a name for the Preset Folder and press Enter.
The new Preset Folder is available in the Preset window for each
processor or plug-in.
Duplicating Preset Folders
To duplicate a Preset Folder:
1
In the left column, click a Preset Folder name to select it.
2
Click the Duplicate button.
The folder and all of the Preset files it contains are duplicated.
You can also right-click a Preset Folder name and choose
Duplicate to duplicate the folder.
Chapter 19: Shows and File Management 183
Renaming Preset Folders
3
To rename a Preset Folder:
1
In the left column, click a Preset Folder name to select it.
2
Click the Rename button.
Click the Preset Folder name and choose a Preset Folder from
the pop-up menu. Any Presets in the folder appear in the left
column.
You can also right-click a Preset Folder name and choose
Rename, or double-click a Preset Folder name to rename the
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
folder are also deleted.
To delete a Preset Folder:
1
In the left column, click a Preset Folder name to select it.
2
Click the Delete button.
You can also right-click a Preset Folder name and choose
Delete to delete the folder.
Preset Files
You can manage Preset files from the Transfer tab of the Filing
page. You cannot create Preset files from the Filing page. Preset
files are created from the Presets window of the channel, processor or plug-in; Scope Sets are created using the Scope Sets window of the Snapshots page Recall Safe tab.
Preset Folder names at the top of the Presets column
4
Click a Preset file name to select the file.
5
Click the Duplicate button.
You can also right-click a Preset file name and choose Duplicate to duplicate the Preset.
Renaming Presets
To rename a Preset file:
1
In the left column, click a Preset file name to select the file.
2
Click the Rename button.
You can also right-click a Preset file name and choose Rename, or double-click a Preset file name to rename the Preset.
Duplicating Presets
3
To duplicate a Preset file:
Deleting Presets
1
Go to the Filing page and click the Transfer tab.
2
Click the Built-In or Plug-In icon and choose a processor or
plug-in from the pop-up menu. The available Preset Folders
for the processor or plug-in appear in a pop-up menu above the
left column.
Type a new name for the Preset file and press Enter.
To delete a Preset file:
1
In the left column, click a Preset file name to select it.
2
Click the Delete button.
You can also right-click a Preset file name and choose Delete
to delete the Preset.
Built-In EQ in the Transfer tab of the Filing page
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S3L System Guide
Transferring Settings, Shows and
Presets
You can copy Console Settings, Shows, and Presets to and from
a portable storage device (such as a USB flash drive) for backup,
transfer from standalone software, and transfer between systems.
Console Settings are equivalent to an auto-saved Show file,
and store the current state of the system. By transferring Console Settings, you can transfer the current state of the system
without having to first create and name a Show file.
Settings, Shows and Presets cannot be loaded onto the destination
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
from the Transfer tab of the Filing page. The Transfer tab shows
the system-resident files in the left column and the contents of the
portable storage device in the right column. Items are selected for
transfer in the center.
Preparing to transfer items to a USB storage device
4
Do one of the following to select the items to transfer:
• In the left column, select the items you want to transfer to
the portable storage device.
– or –
• In the right column, select the items you want to transfer
from the portable storage device to your system.
5
Click the Transfer button.
Large transfers may take time. Transfer status is shown by a progress bar. A transfer may be canceled by clicking Cancel.
Canceled transfers may result in partial folder contents,
which will have to be deleted manually.
Synchronizing Settings, Shows and
Presets
File transfer controls
To transfer Settings, Shows or Presets between your system and
a portable storage device:
1
Go to the Filing page and click the Transfer tab.
2
Connect a portable storage device (such as a USB flash drive)
to the system. The device appears above the right column.
3
Do one of the following to select the type of data to transfer:
• To transfer all data, click the Console icon.
• To transfer Console Settings, click the Settings icon.
• To transfer Show Folders, click the Show Folders icon.
Instead of transferring data in one direction between the VENUE
system and a portable storage device, you can synchronize all
data in both columns of the Transfer tab in a single operation.
Synchronizing data causes new files to be copied and files with
the same name but a more recent modification date/time to be automatically updated.
When synchronizing data, the VENUE software replaces
data files of the same name with the file that has the most
recent date/time. Check to be sure that the system clock
times and time zones are correctly set on the system and
on the computer running the Standalone software when
preparing data for synchronization.
• To transfer individual Shows, click the Shows icon.
• To transfer Preset Folders, click the Preset Folders icon.
• To transfer Presets for individual items, click the Built-In or
Plug-In icon and choose a built-in processor or plug-in, or
Input Channel from the pop-up menu.
• To transfer Scope Sets for Recall Safe, click the Scope Sets
icon.
Chapter 19: Shows and File Management 185
To synchronize Settings, Shows, or Presets between the VENUE
system and a portable storage device:
1
Go to Filing > Transfer.
2
Connect a portable storage device (such as a USB flash drive)
to a USB port on the E3 engine. The device appears above the
right column.
3
Do one of the following to select the type of data to synchronize:
• To synchronize all data, click the Console icon.
• To synchronize Console Settings, click the Settings icon.
• To synchronize Show Folders, click the Show Folders icon.
• To synchronize individual Shows, click the Show icon.
• To synchronize Preset Folders, click the Preset Folders
icon.
Show Files in the History tab
The auto-saved Show files displayed in the History tab are named
according to the date and time of their creation, and cannot be renamed.
The Notes field for each auto-saved Show file includes a description of the conditions that caused the automatic save.
Several conditions cause the system to automatically save a new
Show file in the History tab, as follows:
In the course of normal work, a new Show file is automatically
saved in the History tab approximately every ten minutes. Saves
are less frequent when the system is idle.

A new Show file is automatically saved just prior to a significant change in the system setup, including:

• Change of system channel or bus configuration
• To synchronize Presets for individual items, click the
Built-In icon or the Plug-In icon and choose a processor or
plug-in from the pop-up menu.
• Recall, storage, or modification of a Snapshot
• Loading of Console Settings or a Show
4
From the pop-up menus above each column, choose the folders containing the elements you want to synchronize.
Loading an Auto-Saved Show
5
Click the Sync All button. The contents of the left and right columns are synchronized.
To return the system to an earlier state at any time, you can load
any of the auto-saved Show files displayed in the History tab.
Using the Standalone software on a laptop computer, you can
configure VENUE system routing, set up mixes, create Snapshots, and save Shows and Presets. You can then transfer
your data to a USB disk for use on an S3L system or other
VENUE system. See Chapter 23, “Using the Standalone Software.”
To load an auto-saved Show file:
1
Go to the Filing page and click the History tab.
2
In the Show Folders column, click the Show Folder name to
select the folder and display its contents in the Shows column.
3
In the Shows column, click the name for the Show you want
load.
Undoing Changes Using the History
Feature
The VENUE system automatically saves the current state of the
system while you are working, allowing you to quickly return the
system to a previous state.
The History feature uses Show files to capture the system state,
and displays the files in the History tab.
Show Folders and Show files displayed in the History tab can
only be deleted. They cannot be duplicated or renamed.
Show Folders in the History tab
There are two Show Folders in the History tab:
Loading an auto-saved Show file
The Most Recent Changes folder includes all auto-saved Show
files for a ten-hour period.
Click the

The Previous Days folder includes only the last auto-saved
Show file for each day since the system was last cleared.

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S3L System Guide
Load
button.
The VENUE system loads the selected Show file, replacing the
current system configuration, routing, and control settings with
those contained in the selected file.
Chapter 20: Snapshots
Snapshots let you flexibly store and recall a wide range of mixing parameters. Snapshots are commonly used to store the mixer setup
and levels for individual scenes, songs or sound cues in a performance. Snapshots store information about channels and mix parameters,
and you can use a variety of methods to edit, preview, and manage snapshot data. You can use snapshots to trigger events, and to trigger
recording to and playback from a connected USB storage device.
Snapshots are contained and stored as part of a Show file. A single Show file can contain up to 999 snapshots. Once stored, snapshots
can be recalled manually or automatically (triggered by events or MTC). Snapshots are controlled from the on-screen Snapshots page.
Snapshots Page
The Snapshots page provides controls for storing, recalling, and managing snapshots, providing a central location for setting up and replaying automated performances.
1
9
10
5
2
11
3
4
12
6
7
8
1 – Main and Recall Safe Tabs
7 – Channel Scope Action Buttons
2 – Snapshots List
8 – Snapshot Status Display
3 – Snapshot Command Buttons
9 – Currently Targeted Snapshot Display
4 – Data Type Scope Buttons
10 –Snapshot Crossfade Controls
5 – Data Type Scope Action Buttons
11 – MIDI/Plug-Ins/Media List
6 – Channel Scope Controls
12 – Snapshot Notes
Chapter 20: Snapshots 187
Main and Recall Safe Tabs
Recall Buttons
The Snapshots page provides Main and Recall Safe tabs.
The Recall Previous (–) and Recall Next (+) buttons at the top of
the Snapshots list cause the previous or next snapshot in the list to
be targeted and recalled in one step.
Main Provides the primary snapshot controls.
Recall Safe Provides a matrix of channel parameters that can be
globally safed (or isolated) from Recall for all snapshots.
Chase MTC
Snapshots List
Enables or suspends automated recall of snapshots when either
the MTC Read or MTC Generate option is enabled.
Snapshots can be targeted, renamed, recalled, previewed, edited,
locked, reordered, duplicated, searched, and deleted from the
Snapshots list. Icons are provided showing the status of various
snapshot attributes.
Navigating the Snapshots List
Snapshot Entries
Green Indicates the last recalled snapshot.
Each entry in the Snapshots list has a number (001–999) and
name.
Snapshot Attribute Icons
To the right of each snapshot number and name are icons indicating the status of the available snapshot attributes. Icons can be
shown or hidden The following attributes have icons:
• Each snapshot provides a MIDI icon that lights if MIDI
messages are included in the snapshot (See “Adding MIDI
Data to Snapshots” on page 206.)
• If either the MIDI Read or Generate feature is enabled, each
snapshot shows a time code value, trigger indicator, or send
indicator. (See “Snapshot MIDI Time Code Display” on
page 232.)
• If system Tempo has been enabled in Options > Misc,
Tempo data can be shown for each snapshot instead of
MIDI. Each snapshot shows the tempo value associated
with each snapshot, along with a Tempo On/Off toggle
icon. (See “Adding Tempo Data to Snapshots” on
page 209.)
Both MIDI and Tempo are available parameters at all
times. However, the Snapshots list can only display one or
the other at a time.
• On systems connected to a compatible Pro Tools system
with VENUE Link enabled, a snapshot can be configured to
create a Marker in the Pro Tools recording when that snapshot is recalled. The diamond-shaped Markers icon toggles
this feature on/off for each snapshot. (See “Creating a
Pro Tools Marker from a Snapshot” on page 267.)
• Each snapshot provides a Lock icon that toggles the snapshot between Locked (write-protected) and Unlocked. See
“Locking Snapshots” on page 199.
To show or hide snapshot attribute icons:

188
Right-Click any snapshot in the Snapshot list and select Show
or Hide any of available attributes.
S3L System Guide
Snapshots are highlighted in color in the Snapshots list to indicate
the following:
Red Indicates the currently targeted snapshot.
Yellow Indicates that the snapshot is both the last recalled and
currently targeted snapshot.
Blue Indicates that the snapshot is part of a multiple snapshot se-
lection but not the last recalled or currently targeted snapshot. Recalled and Targeted snapshots can also be part of a multiple selection in the list. In this case, the sequence number is blue while
the rest of the name is red, green or yellow.
Snapshot Keyboard Shortcuts
When the Snapshots page is displayed, you can perform the following snapshot functions with these keyboard shortcuts:
Snapshot Function
Keyboard Shortcut
Target Next/Previous Snapshot
Up/Down Arrow keys
Target First Snapshot in List
Home key
Target Last Snapshot in List
End key
Target Snapshot at Top of Page
Page Up
Target Snapshot at Bottom of Page
Page Down
Select Multiple Consecutive Snapshots
Shift-click snapshots
Select Multiple Non-Consecutive
Snapshots/Deselect any Snapshot
Ctrl-click snapshots
Select All Snapshots
Ctrl+A
Create New Snapshot
Ctrl+N
Recall Targeted Snapshot
Ctrl+R
Store Targeted Snapshot
Ctrl+S
Undo
Ctrl+U
Add or update MIDI/Plug-in data to
snapshot
Right-click MIDI/Plug-ins
entry
Selecting Snapshots
Centering the Snapshot List
You can select single snapshots or multiple snapshots in order to
target, recall, duplicate, edit, lock or delete them in the snapshots
list.
The Options > Snapshots page provides a preference setting to always center the Snapshot list on the last recalled snapshot. This
setting lets you always view the snapshots immediately above
and below (prior to and following) the last recalled snapshot. This
setting only affects the scroll position of items in the Snapshot
list.
To select multiple consecutive snapshots:

Shift-click the snapshot names in the Snapshots list.
To clear a selection of multiple consecutive snapshots:

Click any snapshot name in the Snapshots list.
– or –

Turn the Select knob in the Snapshots section.
To select or de-select non-consecutive snapshots:

Ctrl-click the snapshot names in the Snapshots list.
Snapshot list with Center Last Recalled Snapshot enabled
To center the Snapshot list on the last recalled snapshot:
1
Go to the Options > Snapshots page.
2
In the Snapshots General Preferences section, click to select
the Center Last Recalled Snapshot setting.
Snapshot Command Buttons
Disable Temporarily disables all snapshot functions.
Preview An “offline” mode in which 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.
Multiple items selected in the Snapshots list
Snapshot Type Text Search
Type Text search lets you use the keyboard for fast navigation of
the Snapshots list.
To search for and target a snapshot:
1
Go to the Snapshots page.
2
Do one of the following:
Store Stores the current state of the system in the targeted snap-
shot for all data types and channels, overwriting any existing data
in the snapshot.
Propagate Enables Propagate mode. Lets you apply isolated
changes to one or more snapshots at once (such as updating a
channel EQ across all snapshots).
• Type the number of the snapshot.
Edit Enables Edit mode. Lets you adjust parameters freely and
– or –
apply those changes to one or more snapshots. Changes can be
applied in Absolute or Relative fashion.
• Type the first letters of the snapshot name.
3
Recall Recalls the targeted snapshot, updating the system to reflect the status of all scoped data types and channels in the snapshot (subject to the current Recall Safe settings).
Press the Tab key on your keyboard to cycle through any snapshots that start with the same letter.
Undo Returns the system to its state before the last snapshot com-
mand.
New Creates a new snapshot that captures the current state of all
data types and channels.
Duplicate Creates a copy of the selected snapshots.
Clear Clears the contents of the targeted snapshot, but retains any
associated MTC information.
Delete Deletes the targeted snapshots.
Chapter 20: Snapshots 189
Snapshot Scope Controls
Channel Scope Controls
When you create a snapshot, it captures the current state of all
system settings. However, you can select which of these settings
you want to be recalled when you recall a particular snapshot.
Channels are included or excluded from snapshots by clicking
them on-screen in the Snapshot Channel Faders display. The
Snapshot faders display the scope status of each channel on the
S3 control surface, along with indication of the fader positions
and mute states that will result by recalling the targeted snapshot.
The selection of data types and channels to be recalled is referred
to as the scope of a snapshot. The scope of data to be recalled is
also stored within each snapshot.
The Snapshot Data Type buttons and on-screen Channels determine (and display) which data types are recalled for which channels.
The Recall Safe tab provides global control of automation safe
status for parameters on individual channels.
Scope States
Scoped Red display indicates that the data type or channel is cur-
rently scoped and will be affected by snapshot recall.
Not Scoped Gray display indicates that the data type or channel
is not currently scoped and will not be affected by snapshot recall.
Data Type Scope Buttons
The Snapshot Data Type Scope buttons display scope status for
the corresponding types of controls on the S3 control surface. See
Table 5 on page 212 for a complete list.
Channels
currently scoped
(red)
Channels not
currently scoped
(gray)
Snapshot channel fader display showing different scope states
Channel Fader Position
When you target a snapshot with scoped channels that have different fader positions from the current fader positions, the target
fader positions are shown in bright red.
Snapshot channel fader display showing target fader positions
Channel Mute State
Data Type scope buttons showing scoped (top, in red) and unscoped
(bottom, in gray) controls
When you target a snapshot with scoped channels that have different mute states from the current mute states, the target mute
buttons are outlined in yellow.
Data Type Scope Action Buttons
All Turns on the scope for all data types at once. This is equivalent
to clicking all of the Data Type buttons so they are red.
None Turns off the scope for all data types at once. This is equiv-
alent to clicking all of the Data Type buttons so they are gray.
Snapshot channel fader display showing target mute states
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S3L System Guide
Selected Channel Indication
Channel Scope Action Buttons
The Snapshots page indicates the currently selected channel.
All Turns on the scope for all channels displayed on the current
tab (such as 1–48). Double-clicking the All button turns on the
scope for all channels on the system.
If the selected channel is not scoped in the currently selected
snapshot, it is indicated with a blue highlight.

If the currently selected channel is scoped in the currently selected snapshot, it is indicated by a blue outline around the
on-screen fader strip.

None Clicking the None button turns off the scope for all chan-
nels on the current page. Double-clicking the None button turns
off the scope for all channels on the system.
Snapshot Status Display
The Snapshot Status display shows the currently targeted (next)
snapshot in red text directly above the display of the last (most recently recalled) snapshot. Pressing the Snapshot Recall button
immediately recalls the targeted snapshot and makes it the last recalled 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
Though the currently selected channel is displayed in the
Snapshots page, keep in mind that you cannot target a different channel from this page. The currently selected (target)
channel is indicated for visual reference only. To select and
target a different channel, use the channel Select switches or
the Channel Scroll buttons.
Chapter 20: Snapshots 191
Creating Snapshots
Snapshots can be created at any time to store the current channel
and parameter settings. You can create new snapshots manually
in the Snapshots page, or by duplicating existing snapshots to
build your mix as you work.
Use the first snapshot in a Show file to establish the basic settings for a performance. For subsequent snapshots, use the
scope controls and Recall Safe settings to selectively recall
only those controls that need to change between sections or
songs, leaving other controls unaffected by snapshot recall.
Creating New Snapshots
Plug-ins included in the scope of a snapshot
When you create a new snapshot it automatically inherits the
channel and data type scope of the currently targeted snapshot.
When you create a snapshot, it captures the current state of all
system settings.
To create a new snapshot:
1
Set the parameters you want to store in the snapshot.
2
Click New. The new snapshot appears in the Snapshots list.
You can undo the New snapshot command at any time by
pressing the Undo Snapshot Command button.
Naming Snapshots
New snapshots are automatically numbered and appear as “<Untitled>” in the Snapshots list. Snapshots can be renamed at any
time. You can undo snapshot naming operations.
To name a snapshot:
3
For each channel you want affected when the snapshot is later
recalled, click the channel so that it is scoped (displayed in
red).
1
Do one of the following:
• Double-click the snapshot name in the Snapshots list or the
current target name display.
– or –
• Right-click the snapshot name and choose Rename.
2
Type a name for the snapshot.
3
Press Enter on the keyboard or click another snapshot name.
Adding Notes to Snapshots
Click to select/de-select bank
Adding channels to the scope of a snapshot
You can add notes to snapshots at any time. You do not need to
store the snapshot to save the notes in the snapshot.
To add or edit comments for 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
when the snapshot is later recalled, click the corresponding
Data Type button so that it is scoped (displayed in red).
1
Double-click the Notes header or click the list icon to expand
the Notes field.
2
Double-click in the Notes field and enter text.
Adding MIDI, Plug-In, and Media Data to
Snapshots
MIDI, plug-in, or Media (USB playback/record) data is not captured when a snapshot is created. This data is added to existing
snapshots directly from the MIDI/Plug-Ins/Media lists.
See “Adding MIDI, Plug-In, and Media Data to Snapshots” on page 206.
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S3L System Guide
Recalling Snapshots
Targeting Snapshots
Targeting a snapshot lets you preview which data types and channels will be affected by that snapshot before recalling it. When a
snapshot is targeted, the on-screen Data Type buttons and Channel Faders update to show the data types and channels enabled for
recall by the snapshot.
Recalling Successive Snapshots Instantly
You can instantly recall successive snapshots in the Snapshots
list. This command references the currently recalled snapshot, not
the targeted snapshot.
To instantly recall successive snapshots on-screen:

The Snapshot Recall buttons combine target and recall
actions in one step, causing the previous or next snapshot to
be instantly active. These buttons cannot be used to
preview snapshots before recalling them.
Preview mode lets you take the system controls offline to recall and edit snapshots in their entirety without affecting the
current mix. See “Preview Mode” on page 202.
To target a snapshot, do any of the following:

Click the snapshot name in the Snapshot list.

Type the number or name of the snapshot on the keyboard.

Press the Home/End, Page Up/Page Down, and Up/Down Arrow keys on the keyboard to navigate the Snapshot list.
On-screen, click the Recall Previous (–) or Recall Next (+) button at the top of the Snapshots list.
Targeting Before Recalling Snapshots
To target and then recall a snapshot:
1
Click the snapshot name in the Snapshot list.
2
(Optional) Set the scope of the snapshot by doing the following:
The current target snapshot is highlighted in red in the Snapshots
list, and shown in red in the Status display.
• For each channel you want to recall in the snapshot, click
the channel so that it is scoped (displayed in red).
Recalling Snapshots
• For each parameter of the scoped channels you want to recall in the snapshot, click the corresponding Data Type button so that it is scoped (displayed in red).
You can do the following when recalling snapshots:
• Configure the Recall Safe tab to further filter snapshot data
on recall. (See “Recall Safe” on page 194.)
• Target and instantly recall successive snapshots (next or
previous)
• Target first, then recall one or more snapshots
• Select multiple snapshots and recall them all sequentially
• Target snapshots, change Data Type or Channel Scope settings, then recall.
3
Click the Recall button on-screen.
Snapshot Recall can also be triggered by a footswitch or any
number of other functions using events. For more information, see Chapter 21, “Events.”
Undoing snapshot recall commands might cause audio to be
interrupted. Use Undo with caution in performance.
Chapter 20: Snapshots 193
Selecting and Recalling Multiple Snapshots
Recall Safe Displays and Controls
You can select and recall multiple snapshots to load them all in
sequence, and in one step. This is useful to quickly reset the system to a sub-cue or other specific point within a longer scene or
cue and “pick up from there.”
4
5
1
3
To recall multiple snapshots:
1
Select multiple snapshots in the list (Shift-click to select multiple adjacent (consecutive) snapshots; Ctrl-click to select
non-consecutive items or to deselect a single item.
2
Click the Recall button on-screen.
2
3
If multiple snapshots are selected, toggling Data Type or
Channel Scope buttons affects all selected snapshots. This
provides a quick way of removing a channel or data type
(such as EQ) from some or all snapshots. This action can be
undone using the Undo button.
Using Events for Snapshot Control
Using events, you can program triggers such as the Function
switches, the Touch Strip, and a footswitch to target and recall
Snapshots.
For more information on how to use the Event list to customize this or other functions, see Chapter 21, “Events.”
Recall Safe
Recall Safe lets you select which parameters on which channels
you want to be “safed” from snapshots.
Recall Safe is global to all snapshots, can be turned on or off
quickly, and provides preset capabilities in the form of Scope
Sets. Scope Sets can be loaded and saved just like Presets for
built-in EQ, dynamics, and plug-in settings. Current Recall Safe
settings are stored with the Show file.
Individual channels can be safed from all effects of snapshot recall using channel Automations Safe. See “Automation Safe” on page 198.
To access Recall Safes:
1
Go to the Snapshots page and click the Recall Safe tab. The
Recall Safe tab is red when Recall Safe is on and in effect, and
gray when Recall Safe is off or when nothing is safed.
Indication of active Recall Safe from the main Snapshots page
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S3L System Guide
6
Displays and controls in the Recall Safe tab
1 – On
The master On button toggles the entire Recall Safe feature on or
off globally. When lit (blue), Recall Safe is active. When dark,
Recall Safe is suspended.
2 – Snapshot List, Recall and Store
The Snapshot list and its Recall and Store functions remain visible and available from the Recall Safe tab at all times.
3 – Channel and Channel Type Tabs
The Inputs and Outputs tabs at the top of the parameter matrix selects the channel type whose safe status you want to view or edit.
Along the left side of the parameter matrix are the Channel Type
tabs, which change depending on whether you are viewing Input
or Output tabs.
Shift-click Channel Type tabs to view more than one type at
once in the parameter matrix.
4 – Global Safe for MIDI Output, Plug-Ins, and Media
These checkboxes let you globally suspend recall of MIDI output, plug-in changes and/or Media page Transport commands.
They are considered separate from the parameter matrix and do
not follow the Recall Safe master On (or Off) status.
5 – Scope Sets
Parameter Matrix Grid Icons
Scope Sets are presets for the Recall Safe tab that can be stored
and loaded, just like plug-in, EQ and dynamics presets. Scope
sets can be used as a template when creating new Shows, or used
to change Recall Safe settings during a performance. Like other
presets and settings files, Scope Sets can be transferred from the
Filing page, making it easy to maintain and transfer Recall Safe
configurations. For more information, see “Using Scope Sets” on
page 197.
The display state of the Parameter and Channel grid icons indicate safe status for that column or row as follows:
None A dark Parameter or Channel grid icon indicates that no
items in that column or row are safe enabled.
Some A dark triangle inside a lit blue circle indicates that at least
one item in that column or row is safe enabled.
All A lit (white) triangle indicates that all items in that column or
row are safe enabled.
6 – Parameter Matrix
The parameter matrix is a scrollable grid in which you can safe
parameters and channels. You can undo and redo parameter matrix operations.
Parameters
Grid master icon
None
Some
All
Channel Safe
Channel Safe
Display states for grid icons in Recall Safe
Channels
Channel Safe Controls
The CHANNEL SAFE column acts as a global “all channel” setting or override, mirroring the SAFE control (when in Input Safe
Switches act as Automation Safes mode).
Channel grid icons
Parameter grid icons
Parameter matrix for Recall Safe
Parameters are represented in the columns of the parameter matrix; channels are listed along the left side in rows.
Controls in the CHANNEL SAFE column are not part of the parameter matrix; they function in addition to the parameter matrix.
As a result, you do not need to enable any CHANNEL SAFE settings to use the Recall Safe parameter matrix.
For more information, see “Automation Safe” on page 198.
Clicking in the grid enables safe status for that parameter on that
channel. Parameter and Channel grid icons provide shortcuts to
“safe all” parameters in a single-click, and to safe entire channels.
Clicking these icons lets you quickly toggle recall safe status for
entire columns and rows. You can also use the master grid icon
located in the upper left most corner to toggle the entire grid.
Chapter 20: Snapshots 195
Using Recall Safe
To safe all parameters across all channels and clear any current
settings:
To access the Recall Safe tab:

1
Go to the Snapshots page and click the Recall Safe tab.
2
Click a Channel Type tab to display the desired channels.
To safe individual parameters on specific channels:

Click in the grid at the intersection of the appropriate parameter (column) and channel (row). A blue dot appears, indicating
a parameter is safed.
Click the triangular icon at the top of the ALL column.
You can undo or redo the last action taken in the parameter
matrix.
Channel Safe
To automation safe an individual channel and retain all recall safe
settings for that channel:

Click
Click in the CHANNEL SAFE column for the desired channels.
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:

The Channel Safe column mirrors the channel automation
Safe controls. For more information, see “Automation Safe”
on page 198.
Enabling recall safe for channel 1 fader
To safe multiple parameters or channels at a time:

Click and drag in a column, across a row, or at an angle.
To safe individual parameters or channels using the computer
keyboard:
1
2
3
Place the cursor above the grid, above a parameter or channel
name, or above any Channel Safe button. To be sure the cursor
is above a valid area, you should be able to see at least one parameter name or channel name highlight.
Use the Arrow keys of the computer keyboard to move the cursor right, left, up, or down to other grid points. (You cannot
navigate to parameter or channel grid icons, or to the Channel
Safe column.)
Press Enter to enable or disable safe status for the currently focused grid point. Continue navigating to and toggling safe status 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 column until the triangle is white.
To safe all parameters for a particular channel:

Click the Channel grid icon in the ALL column for that channel
(row).
To toggle the status of a parameter column or channel row:

196
Click the appropriate Parameter or Channel grid icon repeatedly until it displays the desired status. For more information,
see “6 – Parameter Matrix” on page 195.
S3L System Guide
Click the CHANNEL SAFE master icon at the top of the Channel Safe column.
MIDI
When engaged, this button prevents the MIDI data stored in the
snapshot from being sent. This does not affect sending of Bank
Select and Program Change commands with the Snapshots Send
on Channel option (Options > Snapshots > MIDI).
To enable Recall Safe for MIDI Snapshot output:

Click the MIDI Snapshot Output Safe button, located above the
parameter matrix.
For more information, see “Adding MIDI Data to Snapshots”
on page 206.
Plug-Ins
Using Scope Sets
When engaged, this button prevents plug-in control settings,
in-circuit state, and routing from being recalled.
The configuration of the Recall Safe tab can be stored as a Scope
Set settings file. Scope Sets can be previewed, recalled and transferred just like plug-in, EQ and dynamics settings.
To enable Recall Safe for plug-ins:

Click the Plug-In Snapshot Safe button, located above the parameter matrix.
For more information, see “Adding Plug-In Data to Snapshots” on page 207.
Media
When engaged, this button prevents USB 2-track record and
playback transport commands for from being recalled.
To enable Recall Safe for USB 2-track Transport controls:

To store the current Recall Safe settings as a Scope Set:
1
Configure the Recall Safe tab as desired.
2
Click the Scope Sets icon (the folder icon located above and
to the right of the parameter matrix).
3
Click New.
To preview and recall a saved Scope Set:
1
From the Recall Safe tab, click the Scope Set icon to display
the Scope Set window.
2
If necessary, choose the appropriate Scope Sets folder by
clicking and selecting it from the Folder selector.
3
Do any of the following:
Click the Media Snapshot Safe button, located above the parameter matrix.
For more information, see “Adding Media Data to Snapshots” on page 209.
• To preview an existing Scope Set, click its name in the
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
Snapshots can store and recall all source assignments of each matrix mixer when the Matrix data types is scoped. In addition, all
User Input assignments are stored, letting you reconfigure Matrix
mixers and User Input assignments on a per snapshot basis, if desired.
• To cancel without changing Recall Safe settings, click Cancel.
Scope Sets
Folder selector
The Recall Safe tab provides two data “Mix” data types that let
you discretely “safe” source and/or user input assignments to prevent them from being changed with a snapshot recall.
The following table describes what can be stored and recalled in
each snapshot when the Matrix data types is scoped.
Table 4. Snapshot data types and parameters for Matrix mixers
Snapshot
Data Type
Included Parameters (for Each Scoped
Channel Strip)
Matrix
Mixer Input Sources, User Input Assignments
(global to all Matrixes), and pickoffs; Mixer Input
level, Mixer Input on/off and Mixer Input Link
Scope Sets window
See Chapter 19, “Shows and File Management” for complete
information on transferring system data.
Chapter 20: Snapshots 197
Automation Safe
Managing Snapshots
Automation Safing a channel lets you suspend the effect of snapshots on all parameters of the channel.
You can manage snapshots in the list by storing, locking, clearing, duplicating, deleting, or moving them.
Output channel Safe switches and buttons always operate in Automation Safe mode.
Storing Snapshots
Automation Safe mode is enabled globally for Input Channels
and FX Returns on the Options > Interactions page (see “Input
Safe Switches” on page 65).).
You can also control channel automation safe status in the
Recall Safe tab. See “Channel Safe” on page 196.
You can modify the contents of an existing snapshot, overwriting
it with new settings, using the Store command. It is not necessary
to recall a snapshot to store it. You can undo Store commands.
To store the current state of the system in an existing snapshot:
1
Set all parameters as you want them to be stored in the snapshot.
2
Select the snapshot in the Snapshot list.
3
Click the Store button on-screen.
4
Set the scope by doing the following:
To enable Automation Safe mode:
1
Go to the Options page and click the Interaction tab.
2
Under Input Safe Switches, select Act as Automation Safes.
To toggle the Automation Safe status of a channel on-screen:

Click the Safe button at the top of the fader strip to toggle Automation Safe status of the channel(s). The Safe button lights
green and displays the letter A when a channel is Automation
Safed.
On-screen Safe switches
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S3L System Guide
• For each parameter you want to be affected when the snapshot is recalled, click the corresponding Data Type button
so that it is scoped (displayed in red).
• For each channel you want affected when the snapshot is recalled, click the channel fader so that it is scoped (displayed
in red).
Locking Snapshots
Available Operations with Locked Snapshots
Snapshots can be locked to prevent them from being accidentally
altered, overwritten or deleted.
The following table details which operations can or can not be
performed on a locked snapshot.
Locked snapshots can be selected, recalled, moved and duplicated. They cannot be overwritten, renamed, rescoped or otherwise changed. New and duplicated snapshots default to unlocked.
Lock status can be changed at any time, including while in Preview mode.
Operation
Select/target snapshot
X
Recall snapshot
X
Duplicate snapshot
X
To lock a snapshot:
1
Go to the Snapshots page and click the Main tab.
2
In the Snapshot list, click the padlock icon at the far right of the
row for any item. The padlock icon illuminates to indicate the
snapshot is now locked.
Allowed
while
Locked
Disallowed
while
locked
Re-sequence in snapshot list
by:
• Dragging in snapshot list
X
• Manually editing sequence number
X
• Re-sorting by time code
X
Overwrite (Store to locked snapshot)
X
Propagate changes
X
Apply Edit mode changes
X
Clear
X
Once locked, operations that would otherwise affect the snapshot
cause the Status display and channel LCDs and Snapshot LCD to
temporarily show a message reminding you that the operation
cannot be applied while the snapshot is locked.
Delete
X
Modify Scope
X
Add/Modify stored MIDI data
X
To unlock a snapshot:
Add/Modify stored Plug-In data
X
Add/Modify stored Media date
X
Modify Notes
X
Modify X-Fade time
X
Modify Snapshot Name
X
Modify Time Code Location
X
Toggle Time Code Enable
X
Snapshot lock controls
3

Select multiple snapshots using Multi-Select or the Shift key
to lock or unlock multiple snapshots at once.
Click the lit padlock icon in the row for that snapshot.
Undo and Locked Snapshots
You can undo locking or unlocking a snapshot. When toggling
lock status for a selection of more than one snapshot, the entire
operation creates a single undo point (it does not track and provide undo for each individual snapshot in the selection).
Keep in mind that Undo can revert snapshots to “unlocked”
status. For example, if you change the scope of an unlocked
snapshot, lock the snapshot and then use Undo, the snapshot
is unlocked. Pressing Undo one more time will revert the
snapshot to its original scope.
Locking Snapshots and MIDI Record
When using the MIDI Record feature, all MIDI data captured up
to the point a snapshot is locked is preserved. If the MIDI Record
operation is still active at the time the snapshot is locked, record
mode is exited, the REC button becomes unavailable for that
snapshot, and subsequent incoming MIDI messages are not captured.
Undo changes
X
Clearing Snapshots
The contents of a snapshot can be cleared while keeping the snapshot in the Snapshot list and retaining its MTC information. This
lets you maintain a placeholder that you can use later to store new
data. You can undo Clear commands.
To clear the contents of a snapshot:
1
Select the snapshots you want to clear.
2
Click the Clear Snapshot Command button.
3
In the dialog box, click Clear to confirm. Cleared snapshots are
renamed “<Untitled>.”
Chapter 20: Snapshots 199
Duplicating Snapshots
Importing Snapshots
Snapshots can be duplicated from the Snapshots list. You can
undo Duplicate commands.
Snapshots from other Show files can be imported into the currently loaded Show file in the Filing > Load/Save tabs.
To duplicate snapshots:
To import Snapshots:
1
Select the snapshots you want to duplicate.
1
Go to the Filing page and click the Load or Save tab.
2
Do one of the following:
2
Select the Show folder that contains the Show file from which
you want to import snapshots.
3
In the Shows column, right-click the Show file from which
you want to import snapshots, and choose Import from the
pop-up menu.
4
In the Import Snapshots window, click a Snapshot to select it
(or shift-click to select multiple Snapshots) and press the Import button. The selected Snapshots are added to the Snapshots
list of the currently loaded show.
• Click Dup (Duplicate).
– or –
• Right-click the snapshot name and choose Duplicate.
A copy of each selected snapshot is placed after the selection,
with a plus sign (+) appended to the original snapshot name.
If multiple snapshots are selected in the list, the new (duplicate)
items are added below their original source snapshots.
Deleting Snapshots
Snapshots can be deleted from the Snapshots list. You can undo
Delete commands.
To delete snapshots:
1
Select the snapshots you want to delete.
2
Do one of the following:
• Click Del (Delete).
– or –
• Right-click the snapshot name and choose Delete.
The snapshots are removed from the Snapshots list, and succeeding snapshots are renumbered.
Importing Snapshots from the Import Snapshot window
Moving Snapshots
Existing snapshots can be rearranged in the Snapshots list. When
you move one or more snapshots, they are automatically renumbered in the list, but MTC values are left unchanged. You can
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 –

200
Double-click the snapshot number in the Snapshots list or the
banner display, type a new number, and press Enter on the keyboard.
S3L System Guide
Making Changes to Snapshots
There may be situations where you need to change specific parameters in existing snapshots while leaving other parameters unchanged.
For example, if a guitarist changes instruments in the middle of a
tour it might be necessary to change levels and EQ on the guitar
channel in all the snapshots in a show. Snapshots provides the following modes to accommodate these types of situations:
Edit Mode Lets you capture individual control changes while you
mix, and apply those changes to one or more pre-existing snapshots as absolute or relative changes. For example, you could enter Edit mode the first time a guitarist uses a new guitar in rehearsal. When you are satisfied with your settings you can apply
them (in absolute or relative fashion) to update other snapshots.
See “Using Edit Mode” on page 201.
Propagate Mode Lets you update data in pre-existing snapshots
after you've already made changes and decided you want to keep
them. While Edit mode requires you to know ahead of time that
you will be updating snapshots, Propagate mode lets you decide
to update other snapshots with current settings after making adjustments to your mix. For example, if its the third consecutive
night you’ve reached to increase gain on the DI channel for a new
guitar, you could use Propagate mode to quickly take the gain increase you just made and apply it to other snapshots. See “Using
Propagate Mode” on page 202.
Absolute and Relative Edits
Changes can be applied to one or more selected snapshots as absolute or relative values. Any parameter can be edited in absolute
fashion; all dB parameters can be edited in relative fashion.
Examples of Absolute and Relative Edits
Absolute Changing a fader level from 0 dB to –3 dB and apply-
ing that change as Absolute results in that fader being set identically to –3 dB in all selected snapshots.
Relative Changing a fader level from 0 to –3 dB and applying that
change as Relative results in that fader being reduced by that
amount in all selected snapshots, or 3 dB relative to the value previously stored in the snapshot(s). For example, a channel previously at –6 dB would be changed to –9 dB.
Making Relative Changes with Mixed Data Types
If a combination of dB and non-dB parameters (such as gain and
EQ frequency) are edited and applied in relative fashion, the dB
parameters are adjusted as relative (delta) changes and the
non-dB are applied as absolute changes.
To update specific parameters in existing snapshots using Edit
mode:
1
Go to the Snapshots page and click the Main tab.
2
Click the Edit button to enter Edit mode. The Edit button
changes into two smaller flashing buttons: Abs, and Rel. The
system begins tracking all changes while you make them.
Events-driven recall of snapshots is disabled while in Propagate or Edit mode. For more information, see Chapter 21,
“Events.”
Using Edit Mode
Edit mode is a powerful way to update specific parameters across
multiple snapshots without overwriting any settings you want to
preserve. By entering Edit mode before making adjustments, you
can edit a single control or any number of controls, and your
changes are tracked from the point Edit mode was entered.
The ability to edit a single control in Edit mode provides more
selectivity than Propagate mode.
Edit mode
3
Adjust any combination of scopable parameters.
4
Select the snapshot(s) to which you want to apply your edits.
5
Click either of the flashing buttons Abs (for Absolute) or Rel
(for Relative). You can cancel Edit mode by pressing the Cancel switch on the control surface, clicking the Cancel button
on-screen, or by pressing the ESC key on your computer keyboard.
The selected snapshots are updated according to your changes
and your choice of Absolute or Relative edit.
Chapter 20: Snapshots 201
Using Propagate Mode
You can use the Propagate command to capture changes and apply them to existing snapshots. Propagate mode is most useful
when you realize during the course of mixing that you want to
capture your current settings to use in other snapshots. You can
undo Propagate commands.
To update specific parameters in existing snapshots:
1
Make sure the channel is set as needed.
2
Click Propagate. The current data and channel scope is
cleared.
3
Set the scope to reflect only those parameters you want to update by doing the following:
• For each parameter you want to update, click the corresponding Data Type button so that it is scoped (displayed in
red).
Preview Mode
Preview mode lets you recall, store and edit snapshots without affecting the current mix.
When enabled, Preview mode takes the system offline from the
live audio mix so you can “work ahead” during a rehearsal, performance or event to preview upcoming snapshots and edit them
as needed. Any control that can be stored and recalled by snapshots is available while in Preview mode, and you can also modify the Snapshot list. Once you are done previewing or editing
snapshots, you can store your changes to update the existing
snapshots with your changes.
Using Preview Mode
The basic workflow for using Preview mode is as follows:
1
Make sure your active mix is set as desired, and make sure the
rehearsal, event or performance has an upcoming opportunity
for you to go offline.
2
Enter Preview mode by clicking the on-screen Preview button
in the main Snapshots page. The word “PREVIEW” flashes in
red across the screen for confirmation, as do all input and output channel strip displays.
– and –
• For each channel you want to update, select the channel so
that it is scoped (displayed in red).
Propagating an EQ change for a channel
4
Select the snapshot or range of snapshots you want to update in
the Snapshots list.
5
Click Propagate. The scoped parameters are updated in the selected snapshots.
Preview mode
3
Do any of the following:
Edit the Snapshots List Reorder snapshots in the list, if desired,
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” on page 203.)
Create a New Snapshot Adjust settings as desired and create a
new snapshot by clicking New. (See “Creating New Snapshots”
on page 192.)
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S3L System Guide
Recall and Edit an Existing Snapshot Recall a snapshot to preview its settings and make any adjustments necessary, being sure
to re-store the snapshot before exiting Preview mode. Storing a
snapshot in Preview mode does not affect previously stored MIDI
or Plug-in data (if any).
Edit Channel and Scope Settings Edit any channel settings, pa-
rameters, or scope associated with the snapshot being previewed.
The Snapshots page displays the current snapshot name in italics
to indicate that at least one parameter has been changed, and the
Channel Faders show you the previous level for each channel in
bright red. Scope Data Type buttons and Channel Scope functionality remain live and active at all times (in other words, changes
made to these controls while in Preview mode will remain once
Preview mode is exited).
Add and Edit MIDI, Plug-In or Media Data To add MIDI, plug-in,
or Media data associated with the snapshot, click the Add button
in the MIDI or Plug-Ins snapshot list, or select the options in the
Media list. With plug-ins this adds the current online plug-in settings to the snapshot. If you need to update pre-existing MIDI or
plug-in data associated with a snapshot, right-click the corresponding entry in the MIDI or Plug-Ins view of the Snapshots
page and choose the Update option (this option will include the
plug-in rack position, and the name of the associated snapshot).
For more information, see “Plug-Ins, MIDI and Media Data in
Preview Mode” on page 204.
Undo and Preview Mode
In Preview mode, you can Undo actions applied to the Snapshot
List (such as Recall, Store, New and Duplicate) without affecting
the online mix.
Multiple levels of Undo are available.
Changing Settings in Preview Mode
The system tracks any changes to settings or to the Snapshot list
while in Preview mode, but only Snapshot list actions create an
Undo point. Choosing Undo will undo the last action you took
while in Preview mode, up to a maximum of 100 levels of Undo.
Any changes made after the last Preview action are also undone
(the Snapshot screen is returned to its exact state prior to the action that created the Undo point).
Changing the Snapshot List in Preview Mode
Changes made to the Snapshot list are automatically tracked and
available for Undo, regardless of whether Preview mode is enabled or not. This includes any Recall of snapshots triggered by
incoming MIDI or MTC while in Preview mode.
For example, if a MIDI Snapshot Recall occurs while you are in
Preview mode, the online mix will be updated with that snapshot.
Pressing Undo immediately after that Recall will undo that Snapshot 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
always use the History feature to recover from any unexpected results.
Changing MIDI, Plug-In, and Media Data in Preview Mode
Updating snapshot plug-in data
4
To undo an action made while in Preview mode, click the
Undo button on-screen. (For more information about Undo in
Preview mode, see “Making Changes to Snapshots” on
page 201.)
5
To update the currently previewed snapshot but remain in Preview mode, press or click Store.
6
Continue previewing and editing settings as needed (all snapshot functions are available in preview mode).
7
When you are finished and need to exit Preview mode, press
F1 (or click the on-screen Preview button).
Changes made to MIDI, Plug-In, and Media data cannot be undone. For more information, see “Adding MIDI, Plug-In, and
Media Data to Snapshots” on page 206.
Take advantage of Tool Tips in the banner display to confirm
what action the Undo button will revert. See “Undoing Snapshot Commands” on page 205.
Exiting Preview mode without storing will discard the
changes made while in Preview mode (Preview mode is
cleared each time you exit). You must explicitly store changes
to update the associated snapshots.
Chapter 20: Snapshots 203
Available and Unavailable Functions in
Preview Mode
In order to maintain essential mix indicators and controls while in
Preview mode, not all functions are taken offline.
The following sections detail what is and what is not available
during Preview mode.
Not Available in Preview Mode
The only controls not available while in Preview mode are those
controls which are not able to be stored or recalled via snapshots.
In addition, Config mode options are unavailable in Preview
mode.
Unavailable functions include the following:
Always Active
• Make Stereo, or Split to Mono
Certain essential mix functions remain live and active at all times,
regardless of whether Preview mode is enabled. The following
vital mix functions continue to affect or be affected by the adjustments made to settings:
• Input channel Gain Guess
• Metering
• AFL/PFL
• Dynamics Key Listen
• Monitoring level, Headphone level and Monitoring bus Delay
• Talkback, Osc and 2-Track
• Mute Groups (recall only)
• Recall Safe
• MIDI snapshot Recall, Chase MTC and Disable (Snapshots)
• Snapshot list and Recall Safe (deleting, adding, or editing
snapshots are/will be reflected online and affect the mix)
• History (auto-save)
Recall Safe in Preview Mode
The Recall Safe settings are global, and are applied to filter snapshot data regardless of the current operating mode. For details on
Recall Safe and other automation safe features, see “Recall Safe”
on page 194.
Available and Editable in Preview Mode
Almost all system functions, such as selecting channels and banking faders, are available in Preview mode.
• Move channels
• Input channel and FX Return Input Direct switch
• Insert mode (plug-ins cannot be edited)
• Enabling or disabling sample rate conversion
These functions are neither available for offline access in
Preview mode, nor do they remain active (online) while in
Preview mode. To adjust any of the above settings, you must
exit Preview mode.
Config Mode
Config mode is not available while in Preview mode. Pressing the
Config switch (or double-clicking the Config/Show mode icon
on-screen) displays a dialog box in which you can choose to “Exit
Preview” (return to online mix, in Config mode), or “OK” (remain in Preview mode).
The system automatically switches to Show mode if Config mode
is active at the time Preview mode is entered.
Plug-Ins, MIDI and Media Data in Preview Mode
In Preview mode, plug-ins, MIDI and Media data operate in a
similar way as when using the standalone software.
You must explicitly add or update plug-in, MIDI, or Media data
to update snapshots, whether or not Preview mode is enabled.
You can do this from the main Snapshot page, or (for plug-ins)
from the plug-in racks.
Only those controls that can be stored and recalled via snapshots are available for offline previewing and editing.
Updating plug-in data in an associated snapshot from the plug-in view
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S3L System Guide
Plug-Ins in Preview Mode
Recalling a snapshot that contains plug-in data affects the offline
(Preview) routing and bypass state of the plug-in only; the online
plug-in parameter settings are not recalled, and the online mix is
not affected.
Undoing Snapshot Commands
The Undo function returns the system to the state immediately
before the last snapshot command. Undo is multi-level (up to
100), is available while in Preview mode and after performing an
Edit or Propagate mode action.
The following plug-in functions are available offline in Preview
mode:
Undoing snapshot recall commands may cause audio to
be interrupted. Use Undo with caution in performance.
• Plug-in routing can be changed
• Plug-in rack view can be changed
• Plug-ins can be added to a snapshot to capture its current
online parameter settings and (Preview mode) routing
The following plug-in functions are not available while in Preview mode:
If the Undo button is highlighted, you can place the cursor over
the button to display text in the status bar describing what snapshot actions will be undone.


• Plug-ins cannot be added to or removed from rack slots
If the Undo button is dimmed, Undo is not available.
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
For more information, see “Adding Plug-In Data to Snapshots” on page 207.
MIDI in Preview Mode
Incoming MIDI or MTC continues to trigger snapshot recall
while in Preview mode. However, MIDI messages stored to snapshots are not sent out when a snapshot is recalled in Preview
mode. For more information, see “Adding MIDI Data to Snapshots” on page 206.
Media Data in Preview Mode
An in-progress USB track/playlist playback or recording is not
interrupted by Preview mode. In Preview mode, you can recall a
snapshot with a different Media command (none, play track/playlist, record, or stop), and create and edit snapshots with different
commands without affecting current track playback or recording
status. For more information, see “Adding Media Data to Snapshots” on page 209.
Tool Tip
Using Tool Tips to verify the effect of Undo in the Snapshots page
To undo a snapshot command:

Disabling Snapshots
You can temporarily disable the storage and recall of all snapshots. While snapshots are globally disabled, you can target snapshots in the Snapshots list to preview their properties, but you
cannot recall them.
To disable all snapshots:

MTC and Other Online Event Triggers
While in Preview mode, triggers that occur in the online state of
the system are executed, including MTC-driven recall of snapshots. Triggers caused by changes to the offline (Preview) controls are ignored and do not cause events to occur. For more information, see Chapter 21, “Events.”
Click the Undo button in the Snapshot commands section.
Click the Disable button in the Snapshot commands section.
Suspend MTC Recall
To disable MTC Recall of individual snapshots in the list:
1
Click the green Enable icon in the row for the desired snapshot
so that it is unlit.
2
Click the Disable/Enable icon again to re-enable the snapshot.
Chapter 20: Snapshots 205
Adding MIDI, Plug-In, and Media Data
to Snapshots
Adding MIDI Messages to Snapshots
To add a MIDI message to a snapshot:
MIDI, Plug-Ins, and Media (USB 2-track transport commands)
data are added to snapshots using the MIDI/Plug-In/Media list.
Open the list to add and edit data.
1
Target the snapshot you want to modify.
2
Double-click the MIDI icon in the MIDI/Plug-Ins/Media list
header to expand the MIDI list.
To open the MIDI/Plug-In/Media list:
3
Click Add and choose a message from the pop-up menu.

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.
The following MIDI messages are supported and available in the
MIDI list:
• Note Off
• Note On
Snapshot MIDI list
The MIDI plug icon lights in the Snapshots list for each snapshot
that contains MIDI messages.
• Poly Key Pressure
• Control Change
• Program Change
• Channel Pressure
• Pitch Bend
• MIDI Machine Control Stop
• MIDI Machine Control Play
• MIDI Machine Control Fast Forward
Snapshots list showing snapshot containing MIDI messages
To record incoming MIDI data to a snapshot.
1
Click REC.
2
Send a supported MIDI command.
3
Click REC again when done.
• MIDI Machine Control Rewind
• MIDI Machine Control Eject
• MIDI Machine Control Chase
• MIDI Machine Control Pause
• MIDI Machine Control Locate
When the MIDI data type is scoped for a snapshot, its MIDI messages are sent when the snapshot is recalled.
No MIDI message data is captured when a snapshot is first created. MIDI messages are added to existing snapshots directly
from the MIDI list. You can store up to 20 MIDI messages in each
snapshot.
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S3L System Guide
To edit a MIDI message in the MIDI list:
1
Double-click the message text to display the pop-up menu bar
for the message.
Editing a MIDI message in the snapshot MIDI list
2
Choose the message name and send channel or device ID from
the pop-up menus.
3
Enter the message values in the text fields or drag up or down
across the text field to change the values.
4
Click in the MIDI list area to dismiss the pop-up menu bar.
To remove a MIDI message from a snapshot:

Right-click the MIDI message in the MIDI list and choose De-
Adding Plug-In Data to Snapshots
When the Plug-In data type is scoped for a snapshot, plug-in routing, in/out state, and settings are recalled with the snapshot. (Adding 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 multiple snapshots. Multiple snapshots can be selected, and others
can be added to or removed from the selection, at any time prior
to adding, removing, or updating plug-ins and snapshots.
No Plug-In data is captured when a snapshot is first created.
Plug-In data is added to existing snapshots from the Plug-Ins list
or from the Plug-In rack.
Adding Plug-Ins to Snapshots
To add a plug-in to one or more snapshots from the Snapshots
page:
1
Target the snapshot you want to modify, or select multiple
snapshots in the list.
Viewing MIDI Messages in Hexadecimal Format
2
You can toggle the view of MIDI messages in the MIDI list between hexadecimal and decimal formats.
Double-click the Plug-Ins icon in the MIDI/Plug-Ins/Media list
header to expand the Plug-In list.
3
Select an individual snapshot, or create a multi-selection of
snapshots in the Snapshots list.
4
Display the Plug-Ins list.
5
Click the ADD button within the Snapshot Plug-Ins list and select a plug-in (or All Plug-Ins) from the menu.
lete.
To toggle the view format of the MIDI list:

Click the Hex button in the MIDI/Plug-Ins list header.
Safing MIDI Message Output
You can temporarily disable output 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:
1
Go to the Snapshots page and click the Recall Safe tab.
2
Click the MIDI global output Safe button above the parameter
matrix so that it is lit.
Snapshot Plug-In list
Chapter 20: Snapshots 207
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 snapshots in the Snapshots list.
2
Go to the Plug-Ins page.
1
3
Click the Snapshots menu for the plug-in to be added and
choose Add This Plug-In To Selected Snapshots. The selected
plug-in is added to the currently targeted snapshot, as well as
all other snapshots within the multi-selection.
Select an individual snapshot, or create a multi-selection of
snapshots in the Snapshots list.
2
Select one or more plug-ins (shift-click) within the plug-in list
of the currently targeted snapshot.
To update a plug-in across snapshots from the Snapshots page:
Using the Snapshots pop-up menu in the plug-in rack (Plug-Ins page)
Snapshots within the multi-selection that already contained the
plug-in being added are unaffected and preserve any previously
stored settings.
Removing a Plug-In from Snapshots
To remove a plug-in from snapshots from the Snapshots page:
1
Select an individual snapshot, or create a multi-selection of
snapshots in the Snapshots list.
2
Click the Snapshots Plug-Ins icon to show the Snapshots
Plug-Ins list.
3
Right-click a plug-in within the plug-in list of the currently targeted snapshot and choose Remove This Plug-In From Selected Snapshots.
To remove a plug-in from multiple snapshots from the Plug-Ins
page:
Snapshots plug-ins pop-up menu with multiple plug-ins selected in the
Snapshots Plug-Ins list
3
Right-click and choose Update Plug-In In Selected Snapshots.
To update a plug-in across multiple snapshots from the Plug-Ins
page:
1
Create a multi-selection of snapshots in the Snapshots list.
2
Go to the Plug-Ins page. All plug-ins that are associated with
any of the currently selected snapshots are identifiable by their
red Snapshot menu.
3
Click the Snapshots menu for the plug-in to be updated and
choose Update This Plug-In In Selected Snapshots.
1
Create a multi-selection of snapshots in the Snapshots list.
2
Go to the Plug-Ins page.
The selected plug-in is updated within the currently targeted
snapshot, as well as all other snapshots within the multi-selection.
Snapshots within the multi-selection that do not already contain
the plug-in being added are unaffected.
3
Click the Snapshot menu for the plug-in to be removed and
choose Remove This Plug-In From Selected Snapshots.
Editing Plug-Ins
The selected plug-in is removed from the currently targeted snapshot, as well as all other snapshots within the multi-selection.
Only snapshots within the multi-selection that contain the selected plug-in are affected.
The Snapshot page provides two ways to quickly navigate to a
plug-in to edit its routing assignment or parameters.
To edit a plug-in associated with a snapshot:

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Double-click the item in the Snapshot Plug-Ins list. Or, in the
Snapshots Plug-Ins list right-click a plug-in and choose Edit
Plug-In.
Adding Media Data to Snapshots
Adding Tempo Data to Snapshots
When the Media data type is scoped for a snapshot, one of the following USB 2-track Transport commands is available per snapshot:
The Snapshots list can be toggled to display Tempo, along with a
Tempo On/Off indicator for each snapshot entry.
Play This command initiates playback of the track (or tracks)
from the Playlist on the Media > Playback page when the snapshot is recalled. The desired Playlist track is chosen from the
track pop-up menu.
The following Play options are provided:
• When Play only this track is selected, only the track selected
from the pop-up menu is played back. When it is not selected, play back of the Playlist commences with the track
selected from the pop-up menu.
• When Repeat is selected, play back of the selected track or
playlist is repeated until stopped.
Record This command initiates recording to a connected USB
drive when the snapshot is recalled. The name for the recording
can be entered into the associated text field.
Snapshots list showing tempo
Storing a tempo with snapshots lets your system tempo change
per song or scene. This lets you take full advantage of Tempo
Sync (aka Tap Tempo) to synchronize delay and echo plug-ins.
Displaying Tempo in the Snapshots List
To show Tempo in the Snapshots list:

Right-click anywhere in the Snapshots list and choose Show
Tempo.
Tempo is displayed in BPM (beats per minute) or milliseconds, as
set in the Options > Misc page.
Stop Transport This command stops USB 2-track transport when
the snapshot is recalled.
To change the units for Tempo display:
1
Go to the Options > Misc page.
Only one action (playback, recording, or stop) is available for
each snapshot.
2
In the Tap Tempo section, click to select BPM or ms.
For instructions on adding 2-track transport commands to
snapshots, see “Using Snapshots to Trigger Transport
Commands” on page 252.
Displaying Media Data
To view Media data for snapshots in the MIDI/Plug-Ins/Media list:
1
Target the snapshot you want to modify, or select multiple
snapshots in the list.
2
Double-click Media in the MIDI/Plug-Ins/Media list header to
expand the Media list.
Assigning and Enabling a Tempo
Each snapshot can store a custom tempo value. You can manually
enter a custom tempo, or use a shortcut to assign the current System Tempo.
You can use the Tempo Enable icon to enable or disable tempo
recall when the associated snapshot is recalled.
To assign a Tempo value to a snapshot manually:
1
In the Snapshots list, double-click the Tempo value you want
to change, then do one of the following:
• From the keyboard, type a new tempo value.
– or –
• Press the Up and Down Arrow keys to increase and decrease the selected value.
2
Press Enter or click another snapshot Tempo value to confirm
the entry.
To assign the current System Tempo to a snapshot:
Expanded Media list
1
Make sure Tempo is shown in the Snapshots list.
2
Right-click and choose the Set Tempo to option, which will
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
plug-ins, see “Tap Tempo for Plug-ins” on page 225.
Chapter 20: Snapshots 209
To toggle tempo on/off for each snapshot:
1
Make sure Tempo is shown in the Snapshots list (if not,
right-click any item in the list and choose Show Tempo).
2
Click the Tempo icon so that it is lit (enabled) or unlit (disabled).
Default Crossfade Time
The default crossfade time assigned to new snapshots can be set
with this option, with a possible range of 0–99.9 seconds.
To set the Default Crossfade Time:
1
Go to the Options page and click the Snapshots tab.
2
Under Snapshot General Preferences, enter a value or drag in
the text box and press Enter.
Snapshots list showing tempo
For more information on enabling events for Tap Tempo, see
“Tap Tempo for Plug-ins” on page 225.
Adding Pro Tools Markers Using
Snapshots
With VENUE Link enabled, you can set individual snapshots to
create a new Marker in the Pro Tools Timeline. While Pro Tools
is recording, whenever that snapshot is recalled, a new Marker is
created and named according to the recalled snapshot.
See “Creating a Pro Tools Marker from a Snapshot” on
page 267.
Snapshot General Preferences
Crossfade Bypass
Snapshot crossfades can be up to 99.9 seconds. You can quickly
bypass (cancel) a crossfade and immediately advance to the
stored snapshot fader settings in order to speed up rehearsals, or
whenever on-stage action moves faster than a programmed crossfade.
Displaying the Marker Icon
To bypass a snapshot crossfade:
To show Markers in the Snapshots list:


Right-click anywhere in the Snapshots list and choose Show
Markers.
A lit Markers icon indicates that recalling that snapshot will create a new Marker in the Pro Tools timeline when Pro Tools is recording.
Recall the same snapshot at any point during the crossfade.
Doing so recalls the entire contents of that snapshot, in addition to bypassing the crossfade. This is equivalent to recalling
the snapshot with an effective crossfade time of 0 seconds.
Any scoped parameters which were manually changed during
the crossfade time will be reset to the values stored in the snapshot.
Special Cases for Crossfade Bypass
Snapshot Options
Crossfade Time
You can set the X-fade (crossfade) time for the channel faders between snapshots from 0–99.9 seconds, in 0.1 second increments.
This value determines the fade time, or the time it takes for the
faders to move to their new positions when a snapshot is recalled.
All other controls are unaffected by the crossfade time, and are
updated instantly when a snapshot is recalled. Each snapshot may
be assigned its own crossfade time. In addition, crossfades will
continue through a subsequent snapshot recall as long as the
crossfading channels are not scoped in the incoming snapshot.
Incoming MIDI Commands
The snapshot crossfade is not bypassed if a MIDI Program
Change message recalling the same snapshot is received during
the crossfade.
MTC
The snapshot crossfade is not bypassed if a MTC trigger recalling
the same snapshot occurs during the crossfade.
Multiple Simultaneous Crossfades
The crossfade can be bypassed for the most recently recalled
snapshot only.
Preview Mode
If you enter Preview mode in between Recall commands, the offline (Preview mode) crossfade will be bypassed; the online
crossfade will not.
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Pre Settings
Classifying Aux Sends
Snapshots can be used to recall the preamplifier settings on inputs
for all scoped Input Channels. You can set any of the following
Pre parameters to be recalled by the Pre data type button: Gain,
Pad and Phase/polarity, +48V (Phantom Power), HPF corner frequency and in/out state.
You can classify Aux Sends as monitor sends (“Mon”) or as effects sends (“FX”), which lets you scope each type separately
from the Snapshots tab of the Options page.
This option is only a means of organizing Aux Sends for
snapshot control, and does not directly affect Aux bus operation.
To set the Pre parameters recalled by the Pre Data Type button:
1
Go to Options > Snapshots.
To classify Aux Sends for snapshot scope:
2
Under Pre, select the options you want to include. Selected
items will be affected when the Pre data type is included in the
scope of a snapshot.
1
Go to the Options page and click the Snapshots tab.
2
For each Aux Send bus or bus pair, click the Aux Mon or
Aux FX buttons to classify it as a monitor send or effects send,
respectively.
Classifying Aux Sends
Setting Pre parameters
Aux Pre/Post State
Select this option to include the pickoff point pre-fader or
post-fader state of each Aux Send in snapshots.
Chapter 20: Snapshots 211
Snapshot Data Types and Parameters
Table 5. Snapshot data types and parameters included in each data type
212
Snapshot Data Type
Included Parameters (for Each Scoped Channel Strip)
Fader
Main volume level
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
Dyn
Compressor/Limiter in-circuit state; threshold, ratio, attack, release, knee, makeup gain
Expander/Gate in-circuit state; threshold, ratio, attack, release, hold time, range, side-chain input
Pan
Channel pan or balance/width
Pan or balance/width for each Group bus returning back to L–R
Bus
Group bus assignments, group bus mono/stereo-linked state (if mono groups) or dual-mono/true stereo state (if
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
Pre
Gain, pad, phase, phantom power, HPF corner frequency & in-circuit state
Name
Name for each strip
MTX
Mixer Input Sources, User Input Assignments, and pickoffs; Mixer Input level, Mixer Input on/off and Mixer Input
Link state
Aux Mon
On/off, pre/post selection, level, and pan/balance for each Aux bus classified as a Monitor Aux
Aux FX
On/off, pre/post selection, level, and pan/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 routing for each plug-in added to plug-ins list for that snapshot
Media
Transport controls for playback and recording to and from a connected USB flash drive
S3L System Guide
Chapter 21: Events
This chapter introduces the Events tab, and explains how to use
the Event list.
Introduction
Terminology
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 cause-and-effect relationship
between one or more triggers and their results (actions).
An event consists of one or more triggers, which are configured
to cause one or more actions to occur.
Trigger A conditional check used to fire an event, such as the
Events can be very simple, such as the press of a Function switch
enabling a Mute Group, or the press of a connected footswitch
triggering a Recall Next Snapshot. These are examples of a single
trigger (a press of a Function switch or the press of a footswitch)
causing a single action (enabling a Mute Group or Recall Next
Snapshot).
Action A command, mode or other response resulting from an
Events can also be quite complex and involve multiple triggers
and actions. For example, a single event can be defined so that
moving a specific fader above and/or below a certain level sends
a General Purpose output, recalls a specific snapshot and mutes
one or more channels. Multiple triggers can be considered conditionally using the available logic operators AND, OR, and XOR.
Each event can have between 0 and 8 triggers, and each event can
have between 0 and 8 actions. Up to 999 events can be created.
The Event list is easy to configure, and many pre-configured
events are provided for Tap Tempo, next/previous snapshot, and
other functions.
press of a Function switch.
event being triggered.
GPI General Purpose Interface, also commonly known as a logic
interface. S3L provides 2 GPI inputs and 2 GPI outputs.
Open GPI input or GPI output is floating, or at its reference volt-
age.
Closed GPI input or GPI output is closed.
Footswitch Footswitch ports are functionally identical to GPI inputs and share all of the same properties and behaviors.
Important Information about Snapshots
and Events
Because events can trigger snapshot recalls, and because snapshot recalls can trigger other events, it is possible to create logic
“feedback loops.” For more information, see “Avoid Feedback
Loops” on page 223.
For more information on the default events and other examples, see “Default Settings, Templates and Examples” on
page 224.
Chapter 21: Events 213
The Events Tab
The Events tab of the Option page is the working area of the Event list system. Events are defined and managed using the Event list,
along with the Triggers and Actions lists. The lists and commands available in these sections create a powerful, user-programmable environment. Footswitch and GPI status display are also shown on the Events tab.
3
2
1
4
5
6
Figure 4. Events window (Options > Events)
1 – Event List
4 – Actions
2 – Event List Commands
5 – Footswitch Status Display
3 – Triggers
6 – GPI Status Displays
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S3L System Guide
Event List
Triggers
Each event is shown in its own row within the Event list. The list
can be scrolled vertically when necessary.
The Triggers list shows the name and properties of each trigger
defined for the currently selected event, as well as commands to
create and manage triggers.
4
2
3
2
1
1
3
4
5
Triggers list
1 – Triggers List
Event list items, commands and displays
The Event list contains the following elements:
1 – Event Number
Each event has an associated three digit sequence number, 001
through 999. Events are automatically re-numbered if items are
moved, added or removed.
2 – Event Name
Events can be given custom names, up to a maximum length of 31
characters.
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
select, edit, duplicate and delete triggers.
2 – Add
The Add pop-up menu lets you create new triggers. Triggers are
organized in the menu according to the type of input signal that
initiates (or triggers) the event. Types of triggers include channel
functions, footswitch/GPI inputs, snapshot recall, and other functions such as talkback.
3 – Type and Properties
Events can be enabled or disabled individually by clicking the
green Enable indicator to toggle its status. All events can be disabled (suspended) and enabled using the global Disable button.
Each row in the Triggers list shows the selected trigger type.
Some types of triggers have editable properties such as a dB level
on a specific channel, or open/closed state of a footswitch of GPI
input. Choices vary depending on the trigger type, and not all triggers have editable properties.
4 – Event Status
4 – Logical Operators
The Event Status column shows Active (currently in effect),
Ready, Disabled or Test state. For more information on the Status
column, see “Resetting Events” on page 222.
Multiple triggers can be considered conditionally by applying a
logical operator (AND, OR, XOR) to their properties.
3 – Event Enable Icon
5 – Event List Commands
You can test, reset, create, duplicate, clear or delete events in the
list. These commands can be performed using the on-screen buttons or by right-clicking on list items. Multiple events can be selected to test, reset, duplicate, clear or delete them, but only one
new event can be created at one time.
Triggers and actions which are unavailable due to hardware
configuration or other factors are shown as italicized in the
Trigger (and Action) Add menus.
Chapter 21: Events 215
Actions
GPI I/O Stats Display
The Actions list shows the actions defined in the currently selected event, as well as commands to create and manage actions.
The GPI port on the back of the E3 engine can be used to trigger
events in VENUE from outboard equipment (GPI input), or can
be used to send messages to trigger outboard equipment to perform one or more actions (GPI output).
4
2
3
1
The GPI status display shows the present open or closed status of
the two GPI inputs and two GPI outputs. Each input and output
can be named.
GPI Inputs GPI inputs can be added as a trigger for an action in an
event. Example uses of GPI inputs includes remote snapshot recall and remote channel muting from an external control system
or custom control panel.
Actions list
1 – Actions List
Each event can have up to eight actions in the Actions list. All actions occur when the event is fired. Right-click commands let you
select, edit, duplicate and delete actions.
2 – Add
The Add pop-up menu lets you create new actions. Actions are
organized in the menu according to the type of function they affect, such as channel functions, snapshots, GPI Output and Tap
Tempo.
3 – Type and Properties
Each row in the Actions list shows the selected action type. Some
actions have editable 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
vary depending on the action type, and not all actions have editable properties.
4 – Wait
All actions have a Wait (delay) setting that can be applied to the
action.
Footswitch Status Display
The Footswitch status display shows the present open or closed
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 includes Tap Tempo and snapshot recall. The Footswitch can be
named.
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S3L System Guide
GPI Outputs GPI outputs can be added as an action triggered by
a selected trigger. Example uses of GPI output include the following:
• Sending a pulse to trigger samplers and playback devices
• Indicating when a microphone or channel is live by lighting
an On Air or “tally” light
• Flashing or turning on a light when the system is in a particular mode (such as Solo In Place)
• Integrating with power sequencing devices for automated
system turn-on
For GPI port wiring specifications, see Chapter 30, “GPI
Port Reference.”
Creating Events
The basic steps to create an event include the following:
• Add a new event in the Event list (see “Adding an Event”
on page 217).
• Add and configure triggers for the event (see “Adding Triggers to an Event” on page 219).
• Add and configure actions for the event (see “Adding Actions to an Event” on page 221).
Several pre-defined (default) events are available immediately; others are available among the Demo Shows installed
with the system software. For more information, see “Default
Events” on page 224.
Moving Events
Selected events can be dragged and dropped to new locations in
the list. You can also manually edit the event number to re-sequence items.
To move one or more events:
1
Select one or more events in the Event list.
2
Click in the row of any selected event and drag to a new location in the list. As you move events, a white line appears indicating the destination.
3
Release the mouse button to drop the events at the desired location in the Event list. When moving multiple events, moved
events will be adjacent regardless of their original locations
relative to each other (whether adjacent or non-adjacent).
events will be renumbered as necessary according to the new
sequence of events.
Adding an Event
To add a new event to the Event list:
1
Go to the Options page and click the Events tab.
2
Do any of the following:
• To create an empty, untitled new event, click the New button in the Event Commands section.
– or –
• To create a copy of a pre-existing event, select one or more
events in the Event list and click the Duplicate button.
To manually edit an event number:

Managing Events in the Event List
Once created, events in the list can be managed using on-screen
buttons and right-click commands to rename, duplicate, delete,
clear, enable or disable them.
Selecting Events
You can also use the Test and Reset commands to manually
audition events for development and diagnostics. For more
information, see “Testing Events” on page 222
Event list items can be selected, renamed, duplicated, deleted,
cleared, enabled or disabled, tested and reset.
To select one or more events, do any of the following:
Double-click the Event Number and enter a new three digit
number to resequence the list accordingly.
Renaming an Event
• To select a single event, click its row in the Event list.
To rename an event:
• To select all events, right-click an event and choose Select
1
Double-click the event name in the list. Or right-click the
event name and choose Rename.
2
Enter a new name.
3
Press Enter to confirm the new name.
All.
• To select multiple consecutive events, click the first desired
event and then Shift-click (or Multi-Select-click) the last
desired event. All events in between are selected.
• To select multiple non-consecutive events, or to de-select
an individual event, Ctrl-click (or Fine-click) its row in the
Event list.
Selected events
(blue)
Duplicating an Event
Duplicating an event can simplify Event list configuration when
multiple, similar events need to be created, each with slightly different properties.
To duplicate an event:
1
Select one or more events in the Event list.
2
Click the Duplicate button on-screen. 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 the Event list and choose Deselect All.
Chapter 21: Events 217
Deleting and Clearing an Event
Toggling Enable Status for Selected Events
Deleting an event removes it permanently from the Event list.
Clearing an event leaves the named event in the Event list but
clears all associated triggers and actions.
To toggle the enable/disable status of an event in the list:
1
Select one or more events in the Event list.
2
Click the Enable icon for the selected event to toggle its state.
Or, right-click an item and choose Enable or Disable as appropriate. When the Enable icon is lit (green) the event is enabled;
when the icon is unlit the event is disabled.
To delete an event:
1
Select one or more events in the Event list.
2
Do one of the following:
• Click the Delete button on-screen.
• Right-click a selected event and choose Delete.
3
Disabling an active event does not automatically de-activate any
associated actions configured for While Active behavior. Use the
Reset command instead (see “Resetting Events” on page 222).
Click Delete in the Confirm Event Operation dialog to delete
the event. Or click Cancel to cancel the operation.
Disabling an event can be a useful troubleshooting tool, such
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.
2
Do one of the following:
Disable All Events
The Disable button in the events Commands section lets you temporarily disable all events in the Event list.
• Click the Clear button on-screen.
• Right-click a selected event and choose Clear.
3
Click Clear in the Confirm Event Operation dialog to clear the
event. Or click Cancel to cancel the operation.
To disable all events:

Enabling and Disabling Events
Events can be disabled to suspend their operation. An event can
be selected and edited while it is disabled.
You can toggle the enabled state of one or more events in the list
by clicking the on-screen Enable icons in the Event list, or you
can disable the Event list globally by clicking the master event
Disable button.
Disable (all)
Enabled
events
Disabled events
One selected event and two disabled events
Disabling an event stops all timers (Wait/delay properties) associated with that event, preventing any pending (delayed) actions
configured for While Active behavior from occurring.
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S3L System Guide
Click the on-screen Disable button in the events Commands
area. The Disable button lights, and all items in the Event list
show “Disabled” in the Status column.
To re-enable events:

Click the Disable button again.
All events are prevented from firing when the global Disable
function is in effect. However, active events are not de-activated.
Use Reset or Reset All for this (see “Resetting Events” on
page 222).
Individual event enable/disable status is preserved (events retain
the current state of their Enable icons) and can be modified when
globally disabling and enabling events using the master Disable
button.
Creating Triggers
Each Event can have up to eight triggers. You create new triggers
by selecting them from the Add pop-up menu. Once added, you
can edit triggers and their properties to customize them.
Adding Triggers to an Event
Editing Trigger Type and Properties
To edit the trigger and its properties:
1
Double-click the trigger row in the list. Or right-click the action item and choose Edit.
2
Choose a new Trigger Type, or edit any of the available properties in the row for that trigger. Properties vary depending on
the type of trigger selected (not all trigger types have editable
properties).
To add a trigger:
1
Select an Event in the Event list, or create a new one. (For details, see “Selecting Events” on page 217, and “Creating
Events” on page 217.)
2
Click the ADD pop-up menu in the Triggers list and select the
trigger type. The selected trigger type is added to the Trigger
list for the currently selected Event, with its default properties.
Logical Operators for Triggers
An individual trigger is considered to be “true” when the function
described by its type and properties takes place, such as while a
footswitch is actually pressed, or a fader is raised above its trigger
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.
When an Event includes multiple triggers, a logical operator (OR,
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:
Adding a Trigger
1
Select the desired Event to display its assigned triggers.
2
Click the Operators pop-up menu (by default, this pop-up
menu displays “OR”) and choose AND, OR, or XOR.
Only one logical operator is permitted 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
For a list of available trigger types, see “Trigger Types” on
page 227.
Chapter 21: Events 219
Examples of Logical Operators
Managing Triggers in the Triggers List
Logical operators determine the precise state required in order for
an event to occur as shown in the following tables:
Triggers in the list can be edited, duplicated and deleted.
OR At least one of the triggers must be true. The following table
shows the effect of OR on events with multiple triggers. In the table, 0 indicates a false condition (not occurring) and 1 indicates a
true condition (occurring).
Trigger A
Operator
Trigger B
Result
0
OR
0
0
0
OR
1
1
1
OR
0
1
1
OR
1
1
Editing Triggers
To edit a trigger:
1
Double-click the trigger in the Triggers list. Or, right-click the
item in the list and choose Edit.
Editing a trigger
When using OR, if one or more (but not all) of the triggers go
false, the event logic is only acted on again when all triggers evaluate to false (result = 0).
2
• To change the trigger type, click the Type pop-up menu and
make a new selection from the Type menu.
AND All triggers must be true. The following table shows the ef-
• For Fader Above or Fader Below triggers, click the currently displayed dB value to highlight it, then type in a new
value.
fect of AND on events with multiple triggers. In the table, 0 indicates a false condition (not occurring) and 1 indicates a true condition (occurring).
Trigger A
Operator
Trigger B
Result
0
AND
0
0
0
AND
1
0
1
AND
0
0
1
AND
1
1
XOR
At least one trigger, but not all, must be true. The following table
shows the effect of XOR on events with multiple triggers. In the
table, 0 indicates a false trigger condition (not occurring) and 1
indicates a true condition (occurring).
220
Trigger A
Operator
Trigger B
Result
0
XOR
0
0
0
XOR
1
1
1
XOR
0
1
1
XOR
1
0
S3L System Guide
Do any of the following:
• 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 include Closed or Open, On or Off, and Pressed or Released.
3
To confirm your changes, press Enter or click anywhere else in
the Events window.
Selecting Triggers
Triggers can be selected using the same methods as used when selecting items in the Event list. For more information, see “Selecting Events” on page 217.
Duplicating Triggers
To duplicate a trigger:
1
Select one or more items in the Triggers list.
2
Right-click on any selected item and choose Duplicate.
Deleting Triggers
To delete a trigger:
1
Select one or more items in the Triggers list.
2
Right-click on any selected item and choose Delete.
Creating Actions
Each event can have up to eight actions. You create new actions
by selecting them from the Add pop-up menu. Once added, you
can customize actions by editing their properties, as available.
Adding Actions to an Event
Editing an Action Type and Properties
To edit an action:
1
Double-click the action row in the list. Or, right-click the action item and choose Edit.
2
Click the displayed action Type and make a new selection.
To add an action:
1
Select an event, or create a new one.
2
Click the ADD pop-up menu in the Action list and select an action 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 include
Closed or Open, On or Off, and Toggle.
Action Behavior
To edit action behavior:

Click the Behavior pop-up menu and choose Latch or While
Active, as appropriate:
Latch Fixes the behavior in its defined 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.
Pulse and Duration (GPI Output only) Produces a single-shot
pulse output. Duration range is 0.1 second (100 ms) to 1.0 second,
in 0.1 second increments. The default duration is 0.3 seconds
(300 ms).
To configure GPI output pulse and duration for an action:
Action pop-up menu
1
Double-click the action to edit it
2
Click the Behavior selector and choose Pulse.
3
Enter a value for Pulse Duration.
4
To confirm you changes, press Enter or click anywhere else in
the Events window.
Trigger added to Triggers list
For a list of available actions, see “Action Types” on
page 228.
Chapter 21: Events 221
Action Wait
All actions let you specify a Wait time of up to 100 seconds for
the action to wait before firing. This can be useful for synchronizing the timing of multiple external devices, or to build timed sequences of actions.
To configure action Wait (Delay):
1
Double-click the action to edit it.
2
Click the Wait value box to highlight it and enter the desired
time.
Resetting Events
You can use the Reset features to quickly reset Active or in-Test
events to “ready.” You can also use the Reset All command (in
the Events Commands buttons) to immediately reset all events in
the list.
The current status of each event is shown in the Status column in
the Event list:
Event list Status indicators
Status
Description
Selecting Actions
Active
Event is currently true (triggered)
Actions can be selected using the same methods as used when selecting items in the Event list. For more information, see “Selecting Events” on page 217.
Ready
Event is currently false (not triggered)
Disabled
Event is disabled and can not be triggered
Test
Event has been manually triggered
Managing Actions in the List
Actions can be moved, renamed, duplicated, and deleted by
right-clicking them and choosing the desired operation, just as
you can with triggers. For instructions on managing items in the
Actions list, follow the instructions for triggers in “Managing
Triggers in the Triggers List” on page 220.
To reset an event:
1
Select one or more events in the Event list. (See “Selecting
Events” on page 217.)
2
Click the Reset button. Or, right-click an event and choose Reset to reset an Active or in-Test event back to a Ready state.
To reset all events:
Testing Events
An event can be manually triggered to test it, regardless of its current status or enabled/disabled state. Use this feature to verify action properties and confirm proper operation of devices connected to GPI output ports.
When an event is in Test mode, it is effectively considered true
until the event is manually reset. An event in test can be re-tested
at any time by again pressing the Test button. You do not have to
reset in-test events to re-test them.
Incoming triggers are ignored when events are in Test mode. For
example, if a footswitch event is being tested and you accidentally hit the footswitch at some point during the test, the event
does not revert to Active the moment Test is canceled.
Events always return to their ready state following a Reset.
Events won’t re-fire until the trigger logic re-asserts itself as true.
To test events:
1
Select one or more events in the Event list.
2
Click the Test button. Or, right-click an event and choose 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.
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
Click the Reset All button.
When events are reset, the following rules are applied:
Latching or pulsed actions which have already occurred are
unaffected. For example, reset doesn’t unlatch a previously
latched function.


All action delay timers (Wait) are immediately canceled.
Actions configured for While Active behavior are immediately canceled.

Events will not occur until the trigger logic again evaluates as
true.

For example, let’s say you have an event configured to close a
GPI Output whenever Channel 3 is muted (its behavior property
is While Active). Resetting the event opens the GPI Output, even
though Channel 3 might still be muted. The event will re-trigger
the next time the channel goes from an unmuted state to a muted
state.
Snapshots and Events
Events can include snapshot functions among their triggers and
actions.
Snapshots as Triggers
Events can be triggered by the following snapshot functions:
• Recall of specific snapshots
Avoid Feedback Loops
Because events can both affect and be affected by snapshots, it is
possible for events to cause “feedback loops.”
Be especially careful when Recall Previous or Next snapshot triggers and actions are combined with events that recall a specific
snapshot, as shown in the following diagram.
Snapshot 003 is recalled (manually, MTC, other)
• Enabling of Snapshot modes (Preview, Propagate and Edit)
Snapshots as Actions
Event 011
Event actions can include the following snapshot functions:
Trigger:
Recall of Snapshot 003
Action:
Recall Next Snapshot
• Recall of a specific snapshot
• Recall the previous, next or selected snapshot.
• Initiate Store to Selected Snapshot commands (overwriting
and updating snapshots)
• Enable different Snapshot modes (Preview, Propagate and
Edit)
Result: Snapshot 004 is recalled
Event 414
Trigger:
Recall of Snapshot 004
Action:
Recall Previous Snapshot
Snapshot Modes and Event Status
While in Propagate or Edit modes, events-driven snapshot recall
is suspended.
While in Preview mode, triggers that occur in the online state of
the system are executed, including MTC-driven recall of snapshots. Triggers caused by changes to the offline (Preview) controls are ignored and do not cause events to occur.
Result: Snapshot 003 is recalled
Diagram illustrating potential logic feedback loop between events and
snapshots
The global event Disable and Reset All buttons can serve as
“panic” buttons to temporarily suspend and/or reset all
events, giving you a chance to diagnose the source of the
problem. For more information, see “Resetting Events” on
page 222.
Chapter 21: Events 223
Default Settings, Templates and Examples
Default Events
Each Demo Show file contains a set of default events that can be used as a starting point to build your own events. Some examples of
the types of default events include the following:
Examples of default events
Default Event Type and Name
Triggers
Actions
Footswitch
Switch 1 (Footswitch 1) Closed
undefined (choose an action)
Preview Mode (F1)
Function Switch 1, Pressed
Preview Mode, Toggle, Latch
(Flash F1)
Preview Mode, On
Flash Function Switch 1, On, While Active
Variable Groups Mode (F2)
Function Switch 2, Pressed
Variable Groups Mode, Toggle, Latch
(Flash F2)
Variable Groups Mode, On
Flash Function Switch 2, On, While Active
Copy Channel (F3)
Function Switch 3, Pressed
Copy Selected Channel
Light Function Switch 3, On, While Active
Paste to Selected Strip (F4)
Function Switch 4, Pressed
Paste to Selected Channel(s)
Light Function Switch 4, On, While Active
Tap Tempo
Function Switch 8, Pressed
Tap to define system tempo for delay plug-ins that support Tempo
Sync
Mute Group 1 (F9)
Function Switch 9, Pressed
Mute Group 1, Toggle, Latch
Flash Function Switch 9, Toggle, Latch
Mute Group 2 (F10)
Function Switch 10, Pressed
Toggles Mute Group 2, Toggle, Latch
Flash Function Switch 9, Toggle, Latch
Templates
The following table provides a listing of suggested event definitions. Use the techniques explained throughout this chapter to add one
or more of the following events to establish your own set of events, triggers and actions.
Suggested event definitions for common functions
224
Trigger
Properties
Trigger Type
Talkback (Toggle)
Footswitch
Closed
Talkback
Toggle
Latch
Talkback (Momentary)
Footswitch
Closed
Talkback
On
While Active
Fader Start
Fader Above
Ch 1
-60 dB
GPI Output 1
Closed
Pulse (0.3 s)
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
Mute Channel (Toggle)
Footswitch
1
Closed
Mute
Mute Group 1 (Toggle)
Function Switch
9
Pressed
Mute Group
Toggle Input Safe Switch
mode
Function Switch/
Pressed
Input Safe Switch Mode
Tap Tempo
Function Switch
Pressed
Tap Tempo
Show Media Page
Function Switch
Pressed
Change View Mode >
Media Page
USB Play Cued Track
Footswitch
Closed
Media > Play Cued Track
Pro Tools Start Record
Function Switch
Pressed
Pro Tools > Record
S3L System Guide
Action Type
Action
Properties
Event Name
Ch 1
Behavior
Toggle
Toggle
Latch
Using the Templates
4
To quickly test the switch trigger, click the Test button, or
press the Footswitch. Adjust the trigger State for your
footswitch, as necessary, for its open/closed orientation. (For
instructions, see “Editing Trigger Type and Properties” on
page 219.)
5
After testing the trigger, click Reset to return the event to its
Ready state.
To add any of the events listed in the table, do the following (using the first template, Talkback (Toggle) as an example):
To use the templates:
1
Create a new event.
2
Edit the event name (for example, “Talkback (Toggle)” as
shown in the table). For renaming instructions, see “Renaming
an Event” on page 217.
3
Click the (Trigger) Add pop-up menu and choose Footswitch >
Switch 1 (Footswitch 1). The Switch 1 trigger type is added,
with a default State setting of Closed.
Tap Tempo lets you quickly establish a system tempo to use as a
beat clock for delay and echo plug-ins that support Tempo Sync.
4
Click the (Action) Add pop-up menu and choose Talkback.
The Talkback action is added. By default, the action State is
Toggle, and the behavior is Latched. There is no Wait (delay
before firing) needed for this action.
The system tempo defaults to 120 BPM (beats per minute). You
can set a custom tempo in a number of ways including by tapping
a Function switch, Footswitch or other control as explained below. The system tempo is stored as a console setting within the
Show file. Snapshots can also store and recall tempo.
Switch 1 (Footswitch 1) is now configured to toggle Talkback On
or Off each time the footswitch is pressed.
If you prefer momentary talkback, edit the event by doing the
following.
1
Double-click the Talkback action in the Actions list to access
its editable properties. Or, right-click the action and choose
Edit.
Tap Tempo for Plug-ins
Using Tap Tempo
To use Tap Tempo, first enable the system tempo, create a Tap
Tempo event, then enable tempo sync on the delay or echo
plug-in.
Enable the System Tempo
To enable the System Tempo:
Action Type
State
Behavior
1
Go to Options > Misc and locate the Tap Tempo section.
Tap Tempo section of the Options > Misc page
An action and its properties ready to be edited.
2
3
Click the action State pop-up menu (it displays Toggle by default, or the current State setting) and select On.
2
Turn on global tempo sync for the system by clicking the On
switch directly below the Tempo encoder so that it is lit (on).
3
If desired, click the Units selector to choose Beats Per Minute
(BPM) or Milliseconds as the units for displayed values.
Click the action Behavior pop-up menu and select While Active. Together with the State setting (On), While Active establishes momentary control of the action; in this example,
Footswitch 1 is now assigned to provide momentary Talkback
control.
Talkback State and Behavior after editing
Chapter 21: Events 225
Create a Tap Tempo Event
Tips for Using Tap Tempo
To create a Tap Tempo event
The plug-in Tempo Sync switch enables/disables that individual
plug-in’s delay value from following the system tempo. Use the
individual plug-in Tempo Sync switches to sync one, some or all
delay plug-ins.
1
Go to Options > Events.
2
Create a new event and call it Tap Tempo.
3
Click the Add button in the Trigger area, and select an available Function switch or the Footswitch.
4
Click the Add button in the Action section, and choose Tap
Tempo.
Enable Plug-in Tempo Sync and Start Tapping
To enable tempo sync on the plug-in:
1
Navigate to a delay plug-in and enable its tempo sync button.
Repeat for other delay plug-ins you want to sync.
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 located the tempo sync button.
2
Tap the assigned Tap Tempo trigger (Function switch or
Footswitch) in time with the music. At least two taps are
needed to set the tempo; additional taps can result in a more accurate tempo setting.
When Tap Tempo is assigned to a Function switch, that
switch flashes in time with the current tempo setting.
The delay time of all Tempo Sync-enabled plug-ins change to
match the system tempo. While tapping, the calculated tempo is
also shown in the Status area of the screen.
226
S3L System Guide
Tempos can range from 20 BPM (3,000 ms) to 300 BPM (200
ms). Some delay plug-ins offer different time divisions (such as
1/8th, 16th, or dotted) that you can select for variations based on
the system tempo. Check your delay plug-ins to see if they support Tempo Sync and subdivision settings (most, but not all, do).
Snapshots and Tempo Sync
If you need a specific delay time every time a certain snapshot is
recalled, store Tempo with snapshots. For details, see “Adding
Tempo Data to Snapshots” on page 209.
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 1
Property 2
Description
Fader Above
Channel name/number
Fader level –inf to +12 dB
(Default: –60 dB)
Fader moved above threshold level
Fader Below
Channel name/number
Fader level –inf to +12 dB
(Default: –inf)
Fader moved below threshold level
Mute
Channel name/number
On (default)
Off
Mute active/inactive
Solo/AFL
Any input, output, VCA,
Solo In Place
On (default)
Off
Solo/AFL active/inactive
Function Switch
Function Switch 1–16
Pressed (default)
Released
On button press (down)
On button release (up)
Touch Strip
Zone 1–4
Pressed (default)
Released
Zone press (down)
Zone release (up)
Open
Closed (default)
Footswitch input high
Footswitch input low
Open
Closed (default)
GPI Input high
GPI Input low
Footswitch
GPI Input
GPI input 1
Recall Snapshot
Snapshot number and name
Event triggered by snapshot
Preview Mode
On (default)
Off
Preview Mode active/inactive
Propagate Mode
On (default)
Off
Propagate Mode active/inactive
Edit Mode
On (default)
Off
Edit Mode active/inactive
Talkback
On (default)
Off
Talkback active/inactive
Flip to Faders
On (default)
Off
Flip to Faders active/inactive
Variable Groups Mode
On (default)
Off
Variable Groups Mode active/inactive
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
Chapter 21: Events 227
Action Types
The following table lists the available Action types and properties, along with a description of each.
Table 7. Action types
Action Type
Property
State
Behavior
Target Next Channel
Selected Channel advances by one
Target Previous Channel
Selected Channel reverses by one
Copy Selected Channel
Channel copy operation
Paste to Selected Channel(s)
Channel paste operation
Latch (default)
While Active
Mute Channel
Channel
name/number
On
Off
Toggle (default)
Mute Group
Mute Group 1–8
On
Off
Toggle (default)
Latch (default)
While Active
Toggle Mute group status
On
Off
Toggle (default)
Latch (default)
While Active
Mutes all outputs of all assigned Stage
16 boxes
Mute All Stage Outputs
Clear Solos
Mute selected channel
Mirrors Solo Clear
Change View Mode
Software screen
pages
Light Function Switch
Function Switch
1–16
On
Off
Toggle (default)
Latch
While Active (default)
Lights Function switch
Flash Function Switch
Function Switch
1–16
On
Off
Toggle (default)
Latch
While Active (default)
Flashes Function switch
Stop
Play Track
Targets selected pages on-screen
Transport controls for Media page
USB playback and recording functions
Media
228
Description
Stop current playback/recording
Tracks currently
in Playlist
Initiate playback of a track 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
S3L System Guide
Table 7. Action types
Action Type
Property
State
Behavior
Description
Transport controls for Pro Tools playback and recording
Pro Tools
Stop
Play
Record
Record Enable All VENUE
Tracks
Tracks in Pro Tools with a VENUE I/O
path are record armed (enabled).
Record Disable All VENUE
Tracks
Tracks in Pro Tools with a VENUE I/O
path are record disarmed.
Recall Snapshot
Snapshot number and name
Recall specified snapshot
Recall Next Snapshot
Mirrors Snapshot Next button
Recall Previous Snapshot
Mirrors Snapshot Previous button
Recall Selected Snapshots
Mirrors Snapshot Recall button
Store to Selected Snapshot
Mirrors Snapshot Store button
Preview Mode
On
Off
Toggle (default)
Propagate Mode
On
Off
Toggle
Propagate mode active while trigger is
true
Absolute Edit Mode
On
Off
Toggle (default)
Enters Edit mode when trigger is true;
exits via Absolute when trigger goes
false
Relative Edit Mode
On
Off
Toggle (default)
Enters Edit mode when trigger is true;
exits via Relative when trigger goes
false
GPI Output
1–2
Open
Closed (default)
Toggle
Latch
While Active (default)
Pulse, 0.3s (default)
Latch
While Active
Activate/deactivate Preview Mode
Pulses or latches selected GPI Output
Chapter 21: Events 229
Table 7. Action types
Action Type
Property
State
Behavior
Flash Console Lights
230
Description
Flashes console lights
Bottom Row Flip to Faders
On
Off
Toggle (default)
Latch
While Active
(default)
Mirrors the Flip Channel Encoder
Assign switch
Talkback
On
Off
Toggle (default)
Latch (default)
While Active
Toggles the Talkback output on/off
Variable Groups Mode
On
Off
Toggle (default)
Latch (default)
While Active
Toggles Variable Groups Mode on/off
(only if system config is 24-bus mode)
Input Safe Switch Mode
Cycles through Input Safe Switch
modes
Tap Tempo
Sets the system tempo to synchronize
delay plug-ins that support Tempo
Sync
Cancel Operation
Mirrors Cancel switch (and Esc key on
keyboard)
S3L System Guide
Chapter 22: Synchronization
S3L provides a set of MIDI-based synchronization features that
allow automation and remote control of snapshots, and triggering
of external devices when snapshots are recalled.
5
Control MTC playback from the MTC generator controls by
doing any of the following:
• Start MTC playback by clicking the Play button.
• Pause MTC playback by clicking the Pause button.
Automating Recall of Snapshots with
MIDI Time Code
You can automate the recall of snapshots with MIDI Time Code
(MTC). The VENUE system can trigger snapshots with internally generated MIDI Time Code, or it can read MIDI Time Code
from an external source.
For instructions on MIDI and other connections required for
synchronization, see Chapter 2, “Configuring and Connecting.”
Generating MIDI Time Code
You can set the VENUE system to generate MIDI Time Code and
automate the recall of snapshots based on MTC playback.
To generate MIDI Time Code from the VENUE system:
1
Go to the Options page and click the Snapshots tab.
2
Under MTC Mode, click Generate. MIDI Time Code generator
controls appear at the bottom of the screen.
• Stop MTC playback and reset to the Start Time by pressing
the Stop button.
MIDI Time Code controls
Reading External MIDI Time Code
The VENUE system can slave to external MTC and automate the
recall of snapshots based on the incoming MTC.
To read external MIDI Time Code:
1
Go to Options > Snapshots.
2
Under MTC Mode, click Read. A MIDI Time Code display
appears 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
3
Choose the MTC Frame Rate from the Frame Rate pop-up
menu (24 fps, 25 fps, 30 fps drop, or 30 fps non-drop).
4
If you want MTC playback to start at a different time than the
currently displayed time, enter a start time in the Start Time
field, and press Enter.
• When MIDI Time Code is present, the current time code
value is shown in green.
Chapter 22: Synchronization 231
Snapshot MIDI Time Code Display
Capturing Time Code Values in Snapshots
When the system is set to generate or read MIDI Time Code, the
Snapshots list shows time code values and a green Recall Enable
indicator for each snapshot entry.
To capture the current MTC value in a new snapshot:
1
With the system in MTC Read or Generate mode, start time
code playback.
2
Do one of the following:
• During playback, click the New button.
– 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
Assigning Time Code Values to
Snapshots
With the VENUE system set to generate or read MIDI Time
Code, you can assign time code values to snapshots by entering
values manually, or by capturing MTC playback values.
Manually Assigning Time Code Values to
Snapshots
To manually assign an MTC value to a snapshot:
1
In the Snapshots list, double-click the MTC value you want to
change.
A new snapshot appears with the time code value at the time of
creation.
To capture the current MTC value in an existing snapshot:

Right-click the snapshot in the Snapshots list and choose Set
Time Code To.
The time code value is updated to the currently displayed value.
Sorting Snapshots by Time Code Value
You can sort snapshots in the Snapshots list by Time Code value,
so that they appear in chronological order.
When chasing to MTC, snapshots will always recall in
chronological order, regardless of their order in the Snapshots list.
To sort snapshots by their assigned MIDI Time Code value:
Snapshot showing selected MTC value
2

Right-click any snapshot in the Snapshots list and choose
Re-Sort All By Time Code.
Do one of the following:
• From the keyboard, type a new MTC value.
– or –
• Press the Left and Right Arrow keys to move the cursor between number fields, and the Up and Down Arrow keys to
increase and decrease the selected value.
3
Press Enter or click another snapshot MTC value to accept the
entry.
Right-click menu for items in the Snapshots list
232
S3L System Guide
Enabling Snapshots for Automated Recall
With time code values assigned to snapshots, you can then enable
snapshots for recall with time code playback.
To enable snapshots for automated recall with MTC:

Click the Time Code Recall Enable indicator on the right side
of the Snapshots list. The indicator turns bright green to indicate that the snapshot is enabled for recall.
Remote Control of Snapshot Recall
The VENUE system can be set to recall snapshots in response to
MIDI control messages sent from an external device such as an
AV controller system. You can set the system to respond to control messages sent on any one of 16 available MIDI channels.
Snapshots are recalled when their snapshot number (1–999) is received in the form of MIDI Bank Select and Program Change
messages. (See Table 8 on page 233.)
To enable recall of snapshots from an external device:
1
Go to Options > Snapshots.
2
Under MIDI, select the Snapshots Respond to Channel option, and choose the MIDI channel from the corresponding
pop-up menu.
Snapshot enabled for automated recall with MTC
Chasing MIDI Time Code
With snapshots enabled for automated recall, the Chase MTC
function needs to be engaged to allow automated recall to occur.
To initiate automated recall of snapshots:
1
Click the Chase MTC button so that it is highlighted.
2
Begin MTC playback by starting the internal generator (if set
to MTC Generate) or the external device (if set to MTC Read).
Snapshot MIDI respond option
When a recall-enabled snapshot’s time code value is reached, the
snapshot is recalled.
The system listens on the specified channel for Bank Select and
Program Change messages.
Snapshot modes can affect MTC recall. For more information, see “MTC and Other Online Event Triggers” on
page 205.
The Chase MTC button can be used to quickly take VENUE system offline from MTC-triggered recall in performance in the
Event of a change in timing, such as a missed cue or dropped
verse. You can then advance manually to an appropriate snapshot, and re-enable Chase MTC.
VENUE systems do not chase up to the current time code
value. If you start playback in the middle of a snapshot sequence, any prior snapshots will need to be recalled manually to update the system before beginning time code playback. For more information, see “Selecting and Recalling
Multiple Snapshots” on page 194.
The MIDI Snapshot Output Safe option (Options > Snapshots
page) does not affect this option. You can only turn off this
feature by de-selecting the “Snapshots Respond to Channel”
option.
Table 8. MIDI Bank and Program Numbers for Snapshots
Bank
Program
Snapshot Number
0
0–127
001–128
1
0–127
129–256
2
0–127
257–384
3
0–127
385–512
4
0–127
513–640
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 Select message prior to every Program Change message. You only need to send a Bank Select
message when you want to recall a snapshot in a different
bank from the previous snapshot.
Chapter 22: Synchronization 233
Triggering of External Devices on
Snapshot Recall
Sending MIDI Messages on Snapshot
Recall
The VENUE system can be set to send MIDI Bank and Program
Change messages whenever a snapshot is recalled, to trigger external devices whose cues are related to snapshots. You can set
the system to send on any one of 16 available MIDI channels.
You can add up to 20 specific MIDI messages to each snapshot.
These messages are sent whenever the snapshot is recalled. Sending of the messages is enabled with the MIDI scope control in the
Snapshots window. For more information, see Chapter 20,
“Snapshots.”
MIDI output is automatically suspended while in Preview
mode. For more information, see “Preview Mode” on
page 202.
While it is possible to add Bank Select and Program Change messages to individual snapshots, this option lets you toggle messages on and off for all snapshots in one step. Using this option
also ensures that the Bank Select and Program Change messages
correspond to the snapshot number, even after snapshots are rearranged in the Snapshots list.
The Bank Select and Program Changes messages reflect the number (1–999) of the recalled snapshot. (See Table 8 on page 233.)
VENUE systems always send a Bank Select message before
every Program Change message, even if the bank number has
not changed from the previous snapshot.
To enable triggering of external devices when snapshots are
recalled:
1
Go to the Options page and click the Snapshots tab.
2
Under MIDI, select the Snapshots Send on Channel option,
and choose the MIDI channel from the corresponding pop-up
menu.
Synchronizing with Word Clock and
Digital Audio Input
The S3L system operates at a native sample rate of 48 kHz. You
can sync an external digital device to your VENUE system, or
you can sync your VENUE system to external digital devices
such as a Master (or “house”) clock, or to another digital console.
The Word Clock In and Word Clock Out ports are located on the
back panel of the E3 engine.
Your system also automatically synchronizes to signals on its
AES digital audio inputs using sample rate conversion.
Syncing External Devices to VENUE
To sync an external digital device to your VENUE system:

Connect a coaxial cable from the Word Clock Out on the E3
engine back panel to the word clock input on the external device. Set the external device to sync to the word clock signal
coming from the VENUE system.
The Word Clock graphic in the External Devices section of the
Options > Devices page is lit when a valid word clock connection
is detected by the S3L system.
Syncing VENUE to External Devices
Your VENUE system automatically syncs to external word clock
when connected to an external device sending a valid word clock
signal.
Snapshot MIDI send option
To sync your VENUE system to an external device:
The VENUE system sends a Bank Select and Program Change
message on the specified channel whenever a snapshot is recalled.
1
Make sure the outgoing word clock rate of the external device
is set to match your VENUE system word clock rate (48 kHz).
2
Connect a coaxial cable from the word clock out port on the
external device to the Word Clock In port on the E3 engine.
EXT is indicated in the on-screen Status box when your
VENUE system is synced to the external device.
The MIDI Snapshot Output Safe option (Options > Snapshots
page) does not affect this option. You can only turn off this
feature by de-selecting the “Snapshots Respond to Channel”
option.
234
S3L System Guide
About Digital Input and Sample Rate
Conversion
The AES digital inputs on the E3 engine provide sample rate conversion on input, letting you connect a wide variety of digital
sources without having to be concerned with synchronization and
clock connections.
Sample rate conversion does, however, induce processing delay
to the incoming digital signal.
Sample Rate Conversion Latency
The following table illustrates the sample rate conversion processing delay at various sample rates.
External Sample Rate
SRC Process Delay
32 kHz
1.50 ms
44.1 kHz
1.09 ms
48 kHz
1.00 ms
88.2 kHz
0.848 ms
96 kHz
0.833 ms
For more examples and advanced configuration suggestions,
see the Live Recording Guide .
Chapter 22: Synchronization 235
Chapter 23: Using the Standalone Software
VENUE Standalone software lets you do all of the following to
pre-configure performances, wherever you can use your laptop:
• Learn the basics of the VENUE software interface in preparation for working at a full VENUE system.
System Requirements
The following are the minimum system requirements for using
the VENUE Standalone software:
• Assign hardware I/O and routing, and name channels.
• Computer running Windows 7 or Windows XP SP3 operating system
• Set channel input, EQ, dynamics, pan, and other settings.
• Create and maintain a library of setups, with access to
nearly all parameters available on the control surface.
• Minimum 1024 x 768 screen resolution
• 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
• Minimum 16-bit color graphics, 32-bit recommended
• Use the Filing features to transfer Shows and Shows Folders, as well as channel, processing and plug-in presets
to/from a compatible USB storage device to transfer data
between the standalone software and VENUE.
Transferring data must be done to/from a compatible USB
storage device such as a USB flash drive or other external
USB hard drive.
Differences Between Standalone
Software and a VENUE System
The Standalone software is nearly identical to the VENUE software on your Avid live system, with the following differences:
Audio Throughput You cannot play audio through the Stand-
alone software. Real-time audio requires the system hardware.
Plug-In Editing When a Show is transferred from a complete
Avid live system, all plug-ins installed on your system are visible
in the Standalone software as offline (unavailable) plug-ins. You
can assign offline plug-ins to racks, and assign plug-in rack routing in the Standalone software, and save the routing in snapshots.
You cannot install plug-ins or adjust plug-in parameters unless you are working on the complete VENUE system.
Hardware Configuration In the Standalone software, you can
• Available USB port and compatible USB storage device
(such as a flash disk, flash drive or other external hard
drive) for installation and file transfer
Installation requires Windows Administrator permissions. Once
installed, the software can be run under Admin or User accounts.
Installing the Standalone Software
The VENUE Standalone Software installer is located in your
Avid account after activating your S3L software and plug-ins. It
can also be downloaded from the Avid website (www.avid.com).
To install the VENUE Standalone software:
1
If you have not done so already, download the VENUE Standalone Software Installer (.zip file).
2
Unzip the file by doing the following, depending on your computer platform:
Mac Double-click the ZIP file containing the software to unzip it.
Windows Right-click the ZIP file containing the software, select
Extract All... from the pop-up menu, and in the ensuing dialog
click Extract.
3
simulate the hardware configuration of a destination system from
the Devices tab of the Options page.
Launch the installer and follow the instructions on-screen. The
VENUE Standalone software requires no authorization.
Removing the Standalone Software
To remove the VENUE Standalone software:
1
Launch the Programs and Features Control Panel.
2
Select Avid VENUE from the list.
3
Click Uninstall and follow the on-screen instructions.
Chapter 23: Using the Standalone Software 237
Simulating a VENUE Configuration
You can use the Standalone software to simulate a VENUE system with any number of input and outputs. The corresponding inputs and outputs become available in the Patchbay, allowing you
to prepare a show that can transfer directly to the destination system.
Save and Transfer Data from a
VENUE System
To save and transfer data from the complete system:
1
Connect a USB storage device to a VENUE USB port.
2
Use the Save tab of the Filing page to save VENUE data to
disk.
To simulate a VENUE system:
3
Go to the Filing page and click the Transfer tab.
1
Launch the Standalone software.
4
Do one of the following to select the type of data to transfer:
2
Go to the Options page and click the Devices tab.
• To transfer all data, click the Console icon.
3
Right-click the device graphics to choose the surfaces and/or
I/O you will be working with.
• To transfer Console Settings (the current state of the console, equivalent to an auto-saved Show file), click the Settings icon.
• To transfer Show Folders, click the Show Folders icon.
Transfer and Filing Quick Start
• To transfer individual Shows, click the Shows icon.
• To transfer Preset Folders, click the Preset Folders icon.
The basic steps for using the Standalone software and data transfer are as follows:
• To transfer Presets for individual items, click the Built-In
icon or the Plug-In icon and choose a processor, plug-in or
Input Channel Presets item from the pop-up menu, or click
the Scope Sets icon.
• Save data to disk, then transfer it to an external USB storage
device.
• Transfer data from the USB device, then load the data.
5
For complete instructions on transferring data, see
Chapter 19, “Shows and File Management.”
In the left column, select the items you want to transfer from
VENUE to the portable storage device.
Transferring Show files from VENUE
6
238
S3L System Guide
Click the Transfer button.
Transfer and Load Data to the
Standalone Software
To transfer and load VENUE data from your system to the standalone software:
Creating and Editing Shows and Presets
Use the techniques explained throughout this guide to assign
routing, rename channels, and to configure other parameters.
Then do the following to save and transfer your work to a complete system.
1
Connect the USB storage device to your laptop. Make sure the
drive is mounted before proceeding.
2
Launch the VENUE standalone software.
To save and transfer VENUE data from the standalone software to
the complete system:
3
Go to Filing > Transfer.
1
4
Make sure your USB disk is available in the list at right.
Connect a USB storage device to an available USB port on
your laptop.
5
Click the Console, Settings, Show Folders, Shows, Preset
Folders, Built-In, Plug-In or Scope Set selectors to select the
type of data you want to transfer.
2
Using the Save tab of the Filing page, save data to disk.
3
Go to the Filing page and click the Transfer tab, and transfer
saved data to a compatible USB storage device.
4
Connect the USB storage device to an available USB port on
the complete system.
5
Use the Transfer tab of the Filing page to transfer the VENUE
data from the USB storage device.
6
Use the Load tab of the Filing page to load the transferred data.
Exporting System Information and
Patchbay Information
Click
Transferring a Scope Set for the standalone software
6
7
Click the Transfer button. The data is transferred from the
USB device to the appropriate VENUE data folders on the laptop.
If you chose Console, data is automatically loaded and applied. If you chose any other data type, go to the Filing page
and click the Load tab, and load the newly transferred data into
the Standalone software.
With Standalone software, a complete system description and/or
the contents of each Patchbay page can be exported to a text file.
These can be useful for generating an input list (line list) directly
from the system. For example, build and customize the Patchbay
for an upcoming show, then export and print the channel names
list for use during sound check.
To print a system description:
1
Go to Options > System.
2
Click the Info button and follow the on-screen instructions to
print a complete system description.
For more information, see “System Information Export” on
page 58.
To export Patchbay names:
1
Go to the Patchbay page you want to export.
2
Click the Export Patch List icon in the upper right corner of 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 modification. For more information, see
“Patch List Export” on page 126.
Chapter 23: Using the Standalone Software 239
Part VII: Recording and Playback
Chapter 24: 2-Track USB Recording and Playback
The S3L system provides built-in USB 2-track recording and
playback, allowing you to record live performances to and play
back pre-recorded tracks from USB flash drives connected to the
E3 engine. Use these features to do basic stereo live recordings,
and to play back stereo music tracks and/or sound effects during
a performance or event.
The Media page provides on-screen controls for USB 2-track recording and playback. Additionally, snapshots, the Function
switches, the Touch Strip, and a footswitch can be programmed
to control recording and playback functions.
USB 2-track recording and playback is different from the
S3L system’s integrated multi-track Pro Tools recording
and playback capabilities. For more information on
Pro Tools capabilities, see Chapter 25, “Pro Tools Recording and Playback.”
Media Page
The Media page contains two tabs, the Record and Playback tabs.
Record parameters are controlled on the Record tab, and playback parameters are controlled on the Playback tab. The Transport is shared between the two tabs.
Record
1
3
2
4
5
USB Flash Drive Requirements
USB 2.0 and higher flash drives are required for USB 2-track recording and playback, and must always be connected to the
E3 engine. Drives must be formatted to FAT, exFAT, or NTFS
file systems.
Format your USB flash drive with the Disk Utility application included with Apple System software (Mac) or Windows Disk Management (Windows).
Multiple flash drives can be connected to the E3 engine, up to the
maximum number of available USB ports on the E3 engine.
Tracks from multiple connected USB drives can be added to a
Playlist for playback. However, S3L system audio can only be recorded to one drive at a time.
The built-in USB record and playback engine does not support USB hard disk drives.
6
Media page Record tab
1 – Record and Playback Tabs
These tabs let you select the Record and Playback screens.
2 – Record Input Section
The Record Input section provides Record Input selectors (record
input signal routing controls and indicators), stereo Record Input
Level meters, a stereo-linked recording input Level encoder, and
a Listen button (for monitoring the recording).
3 – Target File Name
The Target File Name window displays the name of the targeted
recording. Clicking in the window lets you name the recording.
Resulting audio files are 48 kHz 24-bit WAV files. File names are
automatically appended with “.wav,” and can be edited before
and during recording.
Chapter 24: 2-Track USB Recording and Playback 243
4 – Target Record Folder Section
3 – Playlist
The Target Record Folder section lets you choose the destination
drive and/or folder for recordings. The Target Record Folder list
lets you navigate through connected USB drives, create and name
folders on USB drives, and delete and rename existing files and
folders. Icons next to each item in the list help identify the media
type of that item (such as a USB drive, an audio file, or a folder).
A Playlist is provided to manage USB 2-track playback. You can
play back individual tracks in the Playlist, or play back the entire
Playlist (in either Play Once or Repeat Playback mode). You can
reorder, remove, and audition tracks in the Playlist, as well as add
tracks to snapshots. Total Playlist time is also provided.
5 – USB Drive Info
This section shows the capacity of and the space available for recording on the targeted drive, as well as the maximum possible
record length for an individual file. Values are shown in
hour:minutes:seconds and in bytes.
The contents of the Playlist are contained and stored as
part of a Show file. If the USB device containing the audio
source files for the tracks in the Playlist is not connected,
the tracks in the Playlist appear in italics. Tracks in italics
are not available for playback until the USB drive with the
audio files on it is reconnected.
Track Playlist Entries
6 – Transport
Each track in the Playlist has a number (001–999) and name.
When Play All Tracks mode is enabled, tracks play in the order
they appear in the Playlist. A total of 999 tracks can be added to
the Playlist.
See “Transport” on page 246.
Playback
Playlist Track Snapshot and Event Icons
1
4
Icons are provided for each track in the Playlist for snapshot, and
event functions. When clicked, the icons let you add track playback 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
5
Media page Playback tab
1 – Record and Playback Tabs
These tabs let you select the Record and Playback windows.
2 – Library
The Library lets you choose the drive from which you want to
play tracks, and lets you add the tracks to the Playlist for playback. The Library list lets you navigate through connected USB
drives, create and name folders on USB drives, and delete and rename existing files and folders. Icons next to each item in the list
help identify the media type of that item (such as a USB drive, an
audio file, or a folder). Other data for files such as the artist name
(if available), track length, and file format are also provided.
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S3L System Guide
The Playback output section provides the Playback Output selectors (playback output signal routing control and indicators), stereo playback output level meters, a single stereo-linked output
Level control, and a Listen button (for monitoring the playback
track).
5 – Transport
See “Transport” on page 246.
Selecting Tracks
Items in the Playlist, Library and Target Record Folder list are selected on-screen. Selected items are color-coded to indicate their
status. Keyboard shortcuts for selecting items are also provided.
Tracks can also be selected in the Playlist using the Global
Control encoders (see “Transport Display” on page 246).
To select a single track, file, or folder:

Click the item.
To target multiple consecutive tracks, folders, or files:

Shift-click the items.
To clear a selection of multiple consecutive tracks, folders, or
files:

Click any item in the Playlist, Library, or Target Record Folder
list.
Keyboard Shortcuts in the Playlist, Library, and
Target Record Folder List
When you click in the Playlist, Library, and Target Record Folder
list, you can select items using the following keyboard shortcuts:
Function
Keyboard Shortcut
Select previous/next item
Up/Down Arrow keys
Select first item in list
Home key
Select last item in list
End key
Select item at top of list
Page Up
Select item at bottom of list
Page Down
Select multiple consecutive items
Shift-click tracks
Select multiple non-consecutive
items/Deselect any
Ctrl-click tracks
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. Engaging Play in the Transport initiates playback of the track, and clicking Remove removes the
track from the Playlist.
Green Green appears only in the Playlist, and indicates that the
track is currently cued for playback (or is currently playing back).
Engaging Play in the Transport initiates playback of the track.
Blue Blue appears in the all three lists, as follows:
• In the Playlist, blue indicates that the track(s) is (are) selected, but not currently cued (or currently playing back).
Clicking Remove removes the selected track(s) from the
Playlist.
• In all three lists, blue indicates that the item is part of a multiple-item selection. Clicking Delete or Remove deletes or
removes all selected items.
Red Red appears only in the Library and the Target Record
Folder list, and indicates that the item is currently targeted for editing.
Chapter 24: 2-Track USB Recording and Playback 245
Transport Display
Transport
The Record and Playback tabs share the same Transport section.
The Transport provides Transport controls, the Transport display,
and the Playback Mode buttons.
The Transport display shows the following data for the currently
playing track or in-progress recording:
• Name of the track or recording
• Time elapsed for the current track or recording
Transport Controls
• Time remaining for a playback track; or for a recording the
time remaining on the target drive
The Transport display also provides forward or backward shuttle
by dragging the Playhead or clicking in the Timeline.
1
2
3
4
5
6
USB 2-Track Transport controls
The following transport controls are provided:
1 – Previous Track When Play is not engaged, this button selects
Media page Transport display
Playback Mode Buttons
the previous track in the Playlist. When Play is engaged, this button immediately skips to and plays the previous track in the Playlist.
The Playback Mode buttons provide control over how the selected track or playlist is played back. Options include the following:
2 – Next Track When Play is not engaged, this button selects the
Play One Track This button toggles between Play All Tracks and
Play One Track modes. When unlit, all tracks in the Playlist play
back in sequential order. Playback stops when the last track in the
Playlist has completed. When lit (engaged), only the cued track in
the Playlist plays back.
next track in the Playlist. When Play is engaged, this button immediately skips to and plays the next track in the Playlist.
3 – Stop This button stops playback or recording.
4 – Play/Pause This button initiates playback of the cued track in
the Playlist. When a track is playing back, pressing the button
pauses playback or recording. This button also initiates recording
when Record Arm is enabled.
5 – Record Arm This button toggles Record Arm on/off. The button flashes red when the transport is record-armed. To initiate recording, Play must be engaged, and the Record Arm button is lit
solid when recording is in progress.
6 – Record Divide When a recording is in progress, pressing the
Record Divide button ends the current recording, writes the audio
file to disk, and begins the recording of a new audio file.
Transport controls are only available when media for that
particular function is available.
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S3L System Guide
Repeat Playback This button toggles between Repeat Playback
mode and Play Once mode. When unlit, the cued track (or the entire Playlist depending on the status of the Play One Track button)
plays back once and stops. When lit (engaged), the cued track or
the entire Playlist repeats playback.
Play Selected Track button (left) and Repeat Playback button (right)
Recording Audio to USB
Targeting the Destination for the
Recording
To record audio to USB, you need to assign system channels to
the USB recording inputs, target the destination drive (or folder)
for the recording, and initiating the recording. Audio is recorded
to the connected USB drive as 24-bit, 48 kHz WAV files.
After assigning channels to the USB recording inputs, target the
destination for the recording. Audio can be recorded to the top
(root) level of connected USB drives, or you can create a folder or
a sub-folder and target the recording to that folder.
Assigning USB Recording Inputs
To target the destination for the recording:
The Patchbay is used to assign channels to the USB recording inputs. You can route output busses directly to the USB recording
inputs, or you can use input or output channel Direct Outputs.
1
Insert your USB drive(s) into any USB port on the E3 engine.
2
Go to the Media page and click the Record tab.
3
Locate the Target Record Folder section. If one USB drive is
connected, that drive appears in the window at the top of the
section. The contents of that drive appears in the list below it.
When the drive is targeted, any subsequent recordings are
saved to the top-level of the drive indicated in the top window.
For more information on using Direct Outs, see “Direct
Outputs” on page 95.
To assign channels to USB recording inputs:
1
Go to the Patchbay page and click the Outputs or the Directs
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.
2
Click the Engine hardware tab along the top of the channel
grid.
A drive targeted in the Target Record Folder section
4
3
To the left of the channel grid, click the tab to display the desired channel type in the grid.
If two or more drives are connected to the E3 engine, target the
drive you want to record to by double-clicking the drive in the
list.
4
Click in the channel grid to assign channels or busses (listed on
the left) to the USB recording inputs (listed across the top under the USB column).
The selected drive appears in the in the window at the top of the
section, and any subsequent recordings are saved to the top (root)
level of the drive indicated in the top window.
The Target Record Folder list showing two connected USB drives
Assigning the Main Left-Right Direct Outputs to the USB recording
inputs
The assigned channels appear in the Record Input selectors in the
Media > Record window.
Record Input sources in the Media > Record window
Chapter 24: 2-Track USB Recording and Playback 247
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 initiate the recording.
To create a folder and target it for recording:
1
Make sure the desired USB drive is targeted. If necessary,
click the Up One Level button to return to the top-level of the
USB drive.
2
Click the New button. A new folder appears in the list.
3
Type in a new name for the folder using your computer keyboard and press Enter.
4
Double-click the new folder. The full file path showing the targeted folder now appears in the window at the top of the Target
Record Folder section. Any subsequent recordings will be
saved to that folder.
To set the record level:
1
If you are using Direct Outputs, do the following for each
channel assigned to the USB recording input:
• Go to the Patchbay page and click the Inputs or the Outputs
tab.
• Select the input or output channel that is assigned to the
USB record inputs.
• On-screen, click the Direct Outs On button. Adjust the Direct Output level as necessary.
Turning on a channel Direct Output
A folder targeted in the Target Record Folder section
2
Go Media > Record.
3
Click the Level control in the Record Input section to adjust
the record input level. Make sure the input level is not clipping
the record inputs. Clipping is indicated when red appears on
the +20 dB mark in the Record Input Level meters.
To navigate back to the top level of the drive, use the Up
One Level button located next to the Target Record Folder
window.
As a general rule of thumb, try to set levels so that they peak
within -12 dB to -6 dB on the Record Input Level meters. If
you are using Direct Outputs, both the channel Direct Out
level control and the Level control in the Media > Record
window affect recording input levels.
Naming a Recording
To name a recording:
1
Click in the Target File Name window.
2
Type in a name for the recording.
3
Press Enter.
To engage Record on-screen:
1
Go to Media > Record.
2
In the Transport section, click the Record Arm button to record
arm the transport.
Record-arming the Transport
3
When you are ready to start recording, press the Play button in
the Transport. The Transport display indicates the progress of
the recording.
To stop recording:

248
S3L System Guide
Press the Stop button in the Transport.
Record Listen
You can use the on-screen Record Listen button to monitor the recording input. Record Listen toggles the recording input onto the
Solo bus. Record does not have to be engaged to monitor the recording input.
Playing Back Audio from USB
The S3L system plays back WAV and MP3 files directly from
connected USB drives. To play back tracks, you must first add
tracks to the Playlist. You can then choose the play mode for
tracks and set the playback level.
Record Listen is always overridden by other signals on the Solo
bus. If any other channel is soloed, or Key Listen is engaged, Record Listen is always overridden.
Assigning USB Playback Outputs
To monitor the recording input:
The Patchbay is used to assign USB playback outputs to VENUE
system input channels. You can route USB playback outputs to
any input channels on your system.

In the Record Input section of the Record tab, click the Listen
button.
To disengage Record Listen:

To assign USB playback outputs to system input channels:
1
Click Listen again. You can also press Solo Clear once to turn
off the currently engaged Record Listen button. Press Solo
Clear a second time to clear channel solos, if any.
Dividing a Recording
You can divide an in-progress recording to create a new audio file
for the next song or cue during a performance. The previous recording is saved, and the new recording continues until the recording is stopped or the Record Divide button is clicked again.
To divide a recording:
1
While a recording is in progress, name the new file by clicking
in the Target File Name window, typing in a new name, and
pressing Enter.
2
Click the Record Divide button in the Transport.
If you do not enter a name before clicking Record Divide,
the new file inherits the name from the previous file and is
appended with a number, such as “Untitled-1,” and “Untitled-2.”.
Go to the Patchbay page and click the Inputs tab.
You can also “jump” directly to the Patchbay> Inputs
page from the Media > Playback window by clicking the
Playback Output selectors in the Record Input section.
2
Click the Engine hardware tab along the top of the channel
grid.
3
To the left of the channel grid, click the tab to display the desired channel type in the grid.
4
Click in the channel grid to assign USB playback outputs
(listed across the top under the USB column) to system Input
Channels or FX Returns (listed on the left).
Assigning the USB playback outputs to an FX Return.
The assigned channels appear in the Playback Output selectors
in the Media > Playback window.
Playback Output selectors in the Media > Playback window
Chapter 24: 2-Track USB Recording and Playback 249
Adding Tracks to the Playlist
Setting the Play Mode
To add tracks to the Playlist:
After adding tracks to the Playlist, set the Play Mode. Play Mode
can be set on-screen in the Transport. By default, Play Mode is set
to play all tracks in the Playlist once when playback is engaged.
1
Insert your USB drive(s) into a USB port on the E3 engine.
2
Go to the Media page and click the Playback tab.
3
Locate the Library section. If one USB drive is connected, that
drive appears in the window at the top of the section. The contents of that drive appears in the list below it. A speaker icon
next to individual files indicates audio files that can be added
to the Playlist.
You can audition an individual audio file by clicking the
speaker icon in the Library or in the Playlist. Audition audio is sent to the Solo bus and can be monitored using
headphones connected to the Headphone Output.
To set the Play Mode on-screen, do any of the following:

Click the Play One Track button so that it is lit to play only the
cued track.

To play all tracks in the Playlist in sequential order, make sure
the Play One Track button is unlit.

Click the Repeat Playback button so that it is lit to repeat playback of either the cued track or the Playlist.

To play the track or the Playlist once, make sure the Repeat
Playback button is unlit.
Enabled Play One Track button (left) and Repeat Playback button
(right)
A drive and its contents
4
In the Library list, select one or more tracks.
Shift-click to select multiple consecutive items in the list,
and Control-click to select multiple non-consecutive items.
Engaging Playback
To engage playback:
1
Select a track in the Playlist so that is cued for playback. A
track is cued for playback when it is highlighted in yellow or
green.
Selecting multiple files in the Library list
A selected and cued track in the Playlist
5
2
Press the Play button in the Transport.
3
To stop playback, press the Stop button in the Transport.
Click the Add button. The selected track(s) appear in the Playlist.
Clicking the Add to Playlist button
Tracks in the Playlist
6
250
To remove a track from the Playlist, select it in the Playlist and
click Remove.
S3L System Guide
To adjust the playback level:
1
2
On-screen, drag the Level encoder in the Playback Output section.
From the Global Control encoders, do the following:
• Make sure the Global Control main menu is shown in the
Global Control displays.
• Press the Global Control encoder under the display showing
Monitoring.
• Rotate the encoder under the display showing USB Play to
adjust the level.
3
Adjust the faders of the Input Channels or FX Returns that the
USB playback outputs are assigned to as desired.
To skip to another track in the Playlist:

To skip to the next track in the Playlist, click the Next button in
the Transport, or press the Down arrow on your keyboard.

To skip to the previous track in the Playlist, click the Previous
button in the Transport, or press the Up arrow on your keyboard.
To shuttle forward or backward in the currently playing/paused
track, do either of the following In the Transport display:

Click anywhere in the timeline to move the Playhead to that
position.

Click and drag the Playhead to the left or right to shuttle backward or forward in the track.
Managing USB Audio
You can manage tracks by reordering tracks in and removing
tracks from the Playlist, auditioning tracks, and deleting and renaming files on connected USB drives.
Reordering Tracks in the Playlist
Tracks can be reordered in the Playlist at any time, including
during playback. When you reorder one or more tracks, they are
automatically renumbered in the list.
To move a track in the Playlist:
1
Select one or more tracks in the Playlist.
2
Do one of the following:
• Drag the currently selected tracks to a new location in the
Playlist.
– or –
• Double-click the track number in the Playlist or the banner
display, type in a new number, and press Enter on the keyboard.
Removing Tracks from the Playlist
Tracks can be removed from the Playlist at any time (including
during playback).
To remove a track from the Playlist:
1
Select one or more tracks in the Playlist.
2
Click the Remove button. The selected tracks are removed
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.
Playback Listen is always overridden by other signals on the Solo
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:

Click Listen again. You can also press the Solo Clear switch
once to turn off the currently engaged Record Listen button.
Press Solo Clear a second time to clear channel solos, if any.
Chapter 24: 2-Track USB Recording and Playback 251
Auditioning Tracks
You can audition tracks in the Target Record Folder list of the
Record window, and in the Playlist and the Library lists of the
Playback window. When you audition a track, the signal is sent
only to the Monitor bus. Use this feature to preview tracks in your
headphones before playing them back through the sound system.
To audition a track:
1
In the Target Record Folder list, the Library list, or the Playlist,
double-click the speaker icon next to the track. That track is
sent to the Monitor bus (including the headphones).
Using Snapshots to Trigger Transport
Commands
You can initiate playback by recalling a snapshot. You can add
the track playback command to existing or new snapshots directly
from the Playback window Playlist.
You can also use snapshots to initiate a recording and to stop the
Transport. These commands must be added to already-existing
snapshots on the Snapshots page.
See “Adding Media Data to Snapshots” on page 209 for
more information 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
2
To add a track playback to an already-existing snapshot:
To stop audition, double-click the lit speaker icon.
1
Go to Media > Playback.
Initiating playback of a track interrupts audition.
2
In the Playlist, click the Snapshots icon corresponding to the
track you want to add to a snapshot.
Renaming and Deleting Files and Tracks
You can rename and delete files and tracks in the Target Record
Folder list of the Record window, and in the Library list of the
Playback window.
To rename and/or delete files from a connected USB drive:
1
2
Right-Click a file in the Target Record Folder list or the Library list.
Select Rename or Delete from the pop-up menu as desired.
Clicking the Snapshots icon in the Playlist.
3
From the pop-up menu, choose Add Track Playback to Snapshot and choose the existing snapshot from sub-menu.
Choosing an existing snapshot from the pop-up menu
Selecting Rename from the pop-up menu a track in the Library list
The Play track command for the chosen track is added to the
snapshot. You can edit the Play Mode for a track added to a snapshot on a per-snapshot basis using the Play Mode options in the
Media list on the Snapshots page.
Play Mode options in the Snapshots page Media list
Any snapshot already containing a USB 2-track Transport
command appears in italics in the pop-up sub-menu. If you
want to change the Transport command on an existing
snapshot, click Assign in the ensuing dialog to confirm the
change.
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S3L System Guide
Creating a New Snapshot for Track
Playback
To create a new snapshot containing a track playback:
1
Go to Media > Playback.
2
In the Playlist, click the Snapshots icon next corresponding to
the track you want to add to a snapshot. The icon lights to show
that a snapshot contains this track.
Using Events to Trigger USB
Transport Commands
The following USB 2-track Transport actions can be triggered using events
• Stop USB 2-track Transport
• Play a specific track in the Playlist
• Play the currently cued track in the Playlist
• Engage record in the USB 2-track transport
• Record divide the current recording.
Clicking the Snapshots icon in the Playlist.
3
You add track playback directly from the Playlist or from the
Events tab. All other Transport commands (such as Stop and Record) are added from the Events tab.
See Chapter 21, “Events” for more information.
From the pop-up menu, choose Create New Snapshot to Play
this Track.
Adding Track Playback from the Playlist
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:
Choosing an existing snapshot from the pop-up menu
1
Go to Media > Playback.
In the Snapshots list on the Snapshots page, a new snapshot containing the Play track command is created and added to the end of
the Snapshots list.
2
In the Playlist, click the Event icon next to the track you want
to trigger.
Snapshots list containing the newly created snapshot
Clicking the Event icon in the Playlist.
3
Select Add Track Playback to Event and select the event from
the list.
Adding a track to an existing event
Track playback is added to the selected event, and the track playback command appears in the Events tab Actions list for the selected event. Engaging the trigger for that event triggers playback
of the assigned track.
Play track command added to Events tab Actions list
Chapter 24: 2-Track USB Recording and Playback 253
To create a new event for track playback:
1
Go to Media > Playback.
2
In the Playlist, click the Event icon next to the track you want
to trigger using an event.
3
Select Create New Event to Play this Track. The new event is
created and added to the Events and Actions Lists on the
Options > Events page. The new event and action are auto
named Play Track - <track name>.
Creating a new event for track playback
4
Edit the name if so desired.
5
Make sure the event is selected (highlighted in blue), and click
the ADD pop-up menu in the Triggers list to select a trigger
type (such as Function Switch 16). The selected trigger type is
added to the Trigger list for the currently selected event, with
its default properties.
Function switch added to the event Triggers list
To remove a track playback from an event.
1
In the Playlist, click the event icon next for the track you want
edit.
2
Choose Remove Track Playback from Event <Event number>
“<Event name>”.
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S3L System Guide
Chapter 25: Pro Tools Recording and Playback
The S3L system provides direct connection to a computer running Pro Tools software. No additional audio hardware is required to connect your S3L system to Pro Tools.
A single Ethernet connection lets you record multi-track
Pro Tools sessions of performances using a variety of S3L system
audio sources, including digital splits of your Stage inputs, channel Direct Outputs, and bus outputs. You can also play back
multi-track audio from Pro Tools through your S3L system to integrate pre-recorded tracks with your live mix, or to monitor your
Pro Tools recording on your S3L system.
By combining recording and playback features, you can perform
a true Virtual Soundcheck: play back the tracks from a previous
performance, adjust the mix, and have the changes remain when
you switch back to your live mix.
Pro Tools Recording and Playback
Capabilities and Features
S3L and Pro Tools provide the following features:
• A direct digital connection (24-bit, 48 kHz Ethernet AVB
audio) over a Cat 5e (350 MHz or higher required) Ethernet
cable between your S3L system and a qualified computer
running a compatible version of Pro Tools software
• Support for connection to the Ethernet port or Thunderbolt
port (using an Ethernet-to-Thunderbolt adapter) on the
Pro Tools computer
• Up to 64 channels of simultaneous I/O between your S3L
system and Pro Tools, letting you record S3L system audio
and simultaneously play back Pro Tools tracks through
your S3L system
When performing these tasks, use VENUE Link to exchange data
between systems to simplify and enhance live recording and playback workflows.
• An automatic one-for-one direct digital split of all assigned
Stage input channels without needing to crosspatch or configure the VENUE software Patchbay
For basic stereo recording and playback, use the built-in
2-track USB recorder/player. See Chapter 24, “2-Track
USB Recording and Playback.”
• Freely assignable Pro Tools I/O for recording output busses, submixes, Direct Outputs, and for playing back tracks
from Pro Tools and monitoring a Pro Tools recording
• Fully-integrated Virtual Soundcheck, including the ability
to toggle individual inputs between live Stage inputs and
Pro Tools Virtual Soundcheck inputs
• Support for VENUE Link, providing S3L system and
Pro Tools integration and interoperability
Pro Tools Compatibility
Pro Tools 11.0 and higher on a qualified Mac computer running
OS X 10.8.4 and higher DUH required for using Pro Tools with your
S3L system.
Avid can only assure compatibility and provide support for hardware and software it has tested and approved. For complete system requirements and a list of qualified computers, operating systems, hard drives, and third-party devices compatible with your
S3L system, visit:
www.avid.com/compatibility
Chapter 25: Pro Tools Recording and Playback 255
S3L and Pro Tools Overview
The Ethernet AVB connection between your S3L system and
Pro Tools provides up to 64 channels of simultaneous Pro Tools
I/O. This bi-directional AVB audio connection lets you send S3L
system audio to Pro Tools for recording, and simultaneously receive audio from Pro Tools for playback. The S3L system provides several different types of Pro Tools I/O for recording and
playback.
This connection also provides the VENUE Link communication
link between systems.
A direct connection between the S3L system and Pro Tools
is required when connecting the S3L system to Pro Tools.
Network equipment such as routers, hubs, and switches are
not supported for S3L network connections to Pro Tools.
Pro Tools Recording Outputs
The Ethernet AVB audio connection carries the following types
of output signals from the S3L system to Pro Tools for recording:
Direct Digital Splits Any Stage inputs assigned to S3L system in-
put channels are automatically sent to Pro Tools as unprocessed
direct digital splits. A Pro Tools session recorded using direct
digital splits are an essential part of the Virtual Soundcheck
workflow. See “Enabling Direct Digital Splits” on page 258.
Assignable Pro Tools Outputs For any system input channels
not assigned Stage inputs as their sources, assignable recording
outputs are available, up to the maximum number of available
Pro Tools I/O channels. Assignable outputs can be used to send
the Main L/R mix, submixes from sources such as Matrix and
Groups, the Direct Outs of S3L system I/O channels, and audience mics to Pro Tools.
Pro Tools Playback Inputs
The Ethernet AVB audio connection carries the following types
of input signals from Pro Tools to the S3L system for playback:
Virtual Soundcheck Inputs Any S3L input channel with a Stage
input as its source is automatically assigned a corresponding
Pro Tools Virtual Soundcheck input. The source for that S3L system input channel can then be toggled between its assigned Stage
input and its corresponding Virtual Soundcheck input, either
globally or individually. When Virtual Soundcheck inputs are active, you can make adjustments to your mix using pre-recorded
Pro Tools tracks derived from direct digital splits of your Stage
inputs. All changes carry over when you switch back to live Stage
inputs. You can also choose to apply any Input Gain changes
made to input channels when switching back to Stage inputs. See
“Using Virtual Soundcheck” on page 259.
Assignable Pro Tools Inputs For any system input channels not
assigned Stage inputs as their sources, assignable Pro Tools inputs are available, up to the maximum number of available
Pro Tools I/O channels. Assignable inputs can be used to monitor
your Pro Tools recording on your S3L system, or to incorporate
pre-recorded audio tracks into your live mix.
Pro Tools Input Mode
In Pro Tools Input mode, audio from Pro Tools is the main source
of audio for your S3L system. Stage inputs on your S3L system
are replaced with inputs from Pro Tools. Unlike Virtual Soundcheck mode, changes made to Input Gain settings while operating
in Input mode cannot be applied when switching back to Stage inputs. See “Using Input Mode” on page 263.
VENUE Link
VENUE Link is a communication link between your S3L and
Pro Tools systems. Using this link, you can transfer data between
systems and control Pro Tools from the S3L system. VENUE
Link is also an integral part of the Virtual Soundcheck workflow.
Use features such as Create Session from VENUE to properly and
quickly create a Virtual Soundcheck-compatible Pro Tools session.
No separate Ethernet connection for VENUE Link is required.
See “Enabling VENUE Link” on page 263 and “Using VENUE
Link” on page 265.
256
S3L System Guide
Installing Pro Tools
Pro Tools software is provided with your S3L system. Before
connecting your S3L system and Pro Tools, you must do the following:
• Activate, download, and install Pro Tools software on a
separate computer
• Transfer the Live Sound Production Toolkit license to the
Pro Tools iLok USB Smart Key (second generation iLok
required)
Avid AVB64 Driver
(Mac Only)
After installing Pro Tools, install the Avid AVB64 driver onto
your Mac Pro Tools computer. The AVB64 driver is available in
your Avid account after you activate your S3L software and
plug-ins. See the S3L Software Installation Guide for more
information.
I
If your Pro Tools computer is equipped with a Thunderbolt
port only (or you want to use the Thunderbolt port for the
Pro Tools–S3L system connection), you must have an
Ethernet-to-Thunderbolt adapter.
• Install the Avid AVB64 driver on your Mac Pro Tools computer
To install the AVB64 driver on a Mac:
Downloading and Installing Pro Tools
The Pro Tools software package, included with the E3 Engine,
includes its own Activation Card and iLok. When you activate
your copy of Pro Tools, the iLok license required to run
Pro Tools on your computer is deposited in your iLok account.
You can then transfer the Pro Tools license to the iLok included
in the Pro Tools software package.
Follow the instructions in the Pro Tools software package to activate and download Pro Tools software and the iLok license. See
the Pro Tools Installation Guide, including with your
Pro Tools download, for information on installing and configuring Pro Tools.
Live Sound Production Toolkit
1
If you are using the Thunderbolt port on your Pro Tools computer, connect the Ethernet-to-Thunderbolt adapter to the
Thunderbolt port on your Pro Tools computer.
2
Locate the file called Install Avid AVB64.dmg. Download it
from your Avid account if you have not already done so.
3
Transfer the file to your Pro Tools computer.
4
Double-click the file to mount the DMG file.
5
Inside the mounted DMG file, double-click Install Avid
AVB64.pkg and follow the on-screen instructions to install the
driver.
If the driver installer fails, check www.avid.com/S3Lsupport to make sure your computer and current operating
system are supported.
Your S3L system also includes an iLok license for the Live
Sound Production Toolkit. The Live Sound Production Toolkit
enables up to 64 channels of simultaneous I/O between your S3L
and Pro Tools systems. The Live Sound Production Toolkit license is deposited in your iLok account when you activate your
S3L system software and plug-ins.
Transfer the Live Sound Production Toolkit license to the iLok
that contains the Pro Tools iLok license. Make sure this iLok is
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 present.
To transfer the Live Sound Production Toolkit license to your
iLok:
1
Locate the Pro Tools iLok and insert it into an available USB
port on your computer.
2
If necessary, download and install the iLok License Manager,
then launch it.
3
In the License Manager, select the Live Sound Production
Toolkit license and drag it to the Pro Tools iLok.
4
Label this iLok so you can easily distinguish it from the iLok
containing S3L plug-in licenses.
Chapter 25: Pro Tools Recording and Playback 257
Connecting to Pro Tools
Enabling Direct Digital Splits
Before connecting systems, make sure you have verified your
Pro Tools installation (including the Avid AVB64 driver and any
other required drivers), and that your iLok with all necessary licenses is connected your PT computer.
To send digital splits of S3L system Stage inputs to Pro Tools, the
Stage inputs on your S3L system must simply be active. If necessary, enable them in VENUE.
To connect the S3L system to Pro Tools:
1
Connect an Ethernet cable from an available Network port on
the S3 control surface to an available Ethernet port on the
Pro Tools computer.
– or –
• Connect to an available Thunderbolt port on the Pro Tools
computer using a Thunderbolt-to-Ethernet adapter (not included).
A direct connection between the S3L system and Pro Tools
is required. Do not connect network equipment such as
hubs, router, or switches to any S3L system Network ports.
2
The pickoff point for each Stage input split is post-analog input
gain, but pre-digital trim and channel processing, including the
channel HPF. Thus, the gain for any input channel sent to
Pro Tools is dependent on the S3L system input gain setting for
that Stage input channel.
Recordings of direct digital splits form the basis of the Virtual
Soundcheck workflow, and are also useful for capturing unprocessed audio files of your Stage inputs for later mixdown and editing.
To send a split of the Stage inputs:
1
Make sure the Stage inputs you are using are assigned to the
desired S3L system Input Channels and/or FX Returns in the
Patchbay. See “Assigning Channels in the Patchbay” on
page 124 for more information.
Launch Pro Tools and do the following:
• If the Quick Start dialog appears, click Cancel.
2
Put your S3L system into Config mode.
• Choose Setup > Playback Engine to open the Playback Engine dialog.
3
In VENUE, go to the Options page and click the System tab.
• From the Playback Engine selector, choose Avid AVB64.
4
In the Input Channel Source section, make sure Stage is selected.
• Click OK.
Playback Engine selector
3
In Pro Tools, choose Setup > IO then do the following:
• Click the Input tab and click Default.
• Click the Output tab and click Default.
Enabled Stage inputs in the System > Options page
5
If Stage is not selected, do the following:
• Click Edit.
• Click Stage.
• Click Apply.
Default button in the Pro Tools IO Setup
Always reset the Pro Tools IO setup to Default when connecting to the S3L system.
4
In VENUE, go to the Options > Devices page. In the External
Devices section, an icon representing the Pro Tools computer
lights to indicate that the connection to Pro Tools is active.
A connected Pro Tools computer shown in Options > Devices
258
S3L System Guide
The system restarts with Stage inputs active, and signals from any
Stage inputs assigned to S3L system input channels are sent to the
connected Pro Tools computer as direct digital splits.
The corresponding channels under the Pro Tools tab in the Patchbay are highlighted in purple to indicate they are in use as digital
split outputs and as Virtual Soundcheck inputs.
Output Levels for Digital Splits
Enabling Virtual Soundcheck Mode
0 dB on S3L system input meters equals –20 dBFS. This 20 dB of
mixer headroom helps prevent digital clipping and distortion in
live program material. The S3L system does not provide independent gain control for the digital splits before they are split off to
Pro Tools, so program material coming into the S3L system at
0 dB will be recorded into Pro Tools at –20 dBFS.
When you enable Virtual Soundcheck mode, all existing input
channel settings (such as channel assignments, input and output
processing settings, and routing) carry over to the Virtual Soundcheck inputs. The digital portion of the gain for each channel is
preserved and applied to the incoming signals from Pro Tools, resulting in the same levels for both the Virtual Soundcheck inputs
and their corresponding live Stage inputs.
For gain control of S3L system outputs to Pro Tools, use Direct
Outputs to route audio channels to Pro Tools assignable outputs,
and adjust the gain on the Direct Output control for each channel.
To enable Virtual Soundcheck inputs globally:
1
Put your S3L system into Config mode
2
In VENUE, go to Options > System.
You can set the metering in Pro Tools to mirror the current Meter
setting on your S3L system (see “Meter” on page 64).
3
Click Edit.
4
In the Input Channel Source section, click Pro Tools.
Track input meters and the master Output Meter in the
Pro Tools Transport can be set to different meter scales.
5
From the pop-up menu, choose Virtual Soundcheck.
VENUE Metering Options in Pro Tools
To set Pro Tools metering to mirror S3L meter settings:

In Pro Tools, right-click any track meter and/or the master
Output Meter and choose either of the following:
VENUE Peak This option mirrors with Peak Ballistics meter set-
ting on your S3L system.
VENUE RMS This options mirrors the RMS Ballistics meter set-
ting on your S3L system.
Using Virtual Soundcheck
When a Virtual Soundcheck input is enabled on a S3L system input channel, the source for the channel is switched from the assigned Stage input to the corresponding Virtual Soundcheck input from Pro Tools.
Enabling Virtual Soundcheck inputs globally in the System > Options
page
6
Click Apply. All S3L system input channels with Stage inputs
assigned to them are replaced with their corresponding Virtual
Soundcheck inputs from Pro Tools.
Pro Tools icons appear in the Patchbay > Inputs tab patching grid
for all assigned Stage inputs, indicating that input sources for the
affected input channels are now Virtual Soundcheck inputs from
Pro Tools.
You can enable Virtual Soundcheck mode so that all Stage inputs
are replaced with their corresponding Virtual Soundcheck inputs
one-for-one. You can also toggle the source of an individual input
channel between its assigned Stage input and its corresponding
Virtual Soundcheck input.
When returning to live Stage inputs, any adjustments made to input channel settings remain. You can also choose to apply or discard any changes made to Input Gain settings. Input Gain and
other input channel PRE settings cannot be stored to Snapshots
when Virtual Soundcheck inputs are active.
Virtual Soundcheck Icons in the Patchbay
Chapter 25: Pro Tools Recording and Playback 259
Returning to Stage Inputs
Toggling the Input Source of a Channel
If you change any channel Input Gain settings while in Virtual
Soundcheck mode, you have the option of applying or discarding
the changes when you return to Stage inputs.
You can toggle the input source of an individual input channel between the assigned Stage input and its corresponding Virtual
Soundcheck input.
To return to Stage inputs globally
This can be useful if, for example, you have enabled Virtual
Soundcheck inputs globally, and the singer arrives before the rest
of the band to rehearse along with pre-recorded tracks from a previous performance.
1
Put your S3L system into Config mode.
2
Go to Options > System.
3
In the Input Channel Source section, click Stage.
4
If any changes to gain have been made, the Apply Gain
Change dialog appears. Click either of the following in the dialog as desired:
Apply Any gain changes made in Virtual Soundcheck mode are
applied to the total Stage input gain on each channel.
Discard Any gain changes made in Virtual Soundcheck mode are
lost and the Stage input gain is returned to its previous value on
each channel.
You can toggle between input sources regardless of the
global input source setting on the Options > System page.
To toggle between a Stage input and a Virtual Soundcheck input:
1
Select an input channel that has a Stage input assigned to it.
2
From the on-screen Inputs page, click the Virtual Soundcheck
input button (indicated by a Pro Tools icon) in the Input section.
Adjusting Gain When Switching Between Sources
The S3L system uses a hybrid analog/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
input, the digital component of the gain stage (up to +0.9 dB) is
preserved, so the Virtual Soundcheck input plays back at the
same level as its corresponding Stage input. As a result, input
gain settings never vary across Virtual Soundcheck inputs by
more than 0.9 dB.
Virtual Soundcheck input button
The lit button indicates that the Virtual Soundcheck input is now
the source for the channel. A Pro Tools icon appears in the Patchbay > Inputs tab patching grid for the affected channel only.
For example, if you set the input gain for a channel to +30.5 dB,
then switch to its Virtual Soundcheck input, +0.5 dB of gain is
preserved and displayed in the Gain setting on-screen, resulting
in the same apparent input level on that channel (because 0.5 dB
of the 30.5 dB setting was digital gain as compared to analog
gain).
While in Virtual Soundcheck mode, if you increase the gain on
this channel by 6 dB (to a displayed setting of +6.5 dB), and then
switch back to Stage mode, you can do one of the following:
• Apply the gain change, yielding a gain increase of 6 dB, or
a final setting of +36.5 dB (30+6.5).
– or –
• Discard the gain change, leaving the original Stage input
gain unchanged at +30.5 dB.
The Pad on a channel will automatically be activated or
deactivated to compensate for large gain changes.
260
S3L System Guide
A single input channel with a Virtual Soundcheck input in the
Patchbay > Inputs page
The same gain change rules apply when the source for an
individual channel is toggled between sources.
Snapshot PRE Settings and Virtual
Soundcheck Inputs
To route Direct Outputs to Pro Tools:
1
Go to the Patchbay page and click the Directs tab.
The PRE Data Type Scope button on the Snapshots page lets you
recall the preamplifier settings on inputs for all scoped Input
Channels and FX Returns. Go to the Options > Snapshots page to
set the PRE parameters to be recalled by the PRE data type button.
2
Click the tab at the left of the grid for the channel or bus type
you are routing.
3
Click the Pro Tools tab at the top right of the grid. Pro Tools
outputs reserved for use as digital splits are grayed out in the
channel grid.
4
Click in the channel grid to assign a channel or bus (listed on
the left) to an available Pro Tools output channel (listed across
the top).
5
Activate and set the level for each Direct Output by clicking its
In button and dragging its on-screen encoder in the Direct Out
section.
The data in the table below shows which PRE setting can be
stored and recalled with Snapshots when Virtual Soundcheck inputs are enabled.
PRE settings stored and recalled with Snapshots in Virtual
Soundcheck mode
PRE Parameter
Recall
Store
Phase
Yes
Yes
Gain
No
No*
Phantom Power
No
No
Pad
No
No
Activating a Direct Output on the Directs tab of the Patchbay
* Gain changes made while in Virtual Soundcheck mode can not
be stored to Snapshots, but can be applied back to the analog settings when switching back to Stage mode.
6
Click the Pickoff column in the Patchbay to specify one of the
following pickoff sources for each Direct Output:
• Top of Channel/Mains/Aux/Group/Matrix (indicated by a
“T”)
Using Pro Tools Assignable I/O
• Insert Return
• Pre-Fader (indicated by a lowercase “p”) or Post-Fader (indicated by an uppercase “P”)
Pro Tools Assignable I/O is available for any Stage inputs that are
not assigned to S3L system input channels in the Patchbay. For
example, if 32 Stage inputs are assigned to S3L system input
channels, 32 Assignable Pro Tools output channels and 32 Assignable Pro Tools input channels are available, and can be used
for simultaneous recording and playback if so desired.
The Pre-/Post-Fader Direct Output pickoff point for Input
Channels and FX Returns is configured globally in the Options > Pickoffs page.
To make sure Pro Tools Assignable I/O is available, in the
Patchbay unassign Stage inputs from any S3L system input
channels that you are not using. See “Unassigning and
Clearing Assignments” on page 125.
Using Assignable Outputs for Recording
You can assign input and output channel Direct Outputs, as well
as Mains, Auxes, mono or stereo Groups, and Matrixes to
Pro Tools assignable outputs for recording.
Specifying the channel Pickoff source
7
Configure Pro Tools for recording.
If you configure the Patchbay for Pro Tools playback as
well as recording, be sure to check Pro Tools track outputs
for any potential feedback loops before record-enabling
tracks.
Using Direct Outputs
Direct Outputs let you record discrete channels from the pickoff
point of your choice, with independent level control over each
send to Pro Tools. Each S3L system input and output channel
provides a Direct Output.
Chapter 25: Pro Tools Recording and Playback 261
Using Output Busses
Monitoring Pro Tools Recordings
You can record submixes (also called stems) by sending outputs
such as Mains, Auxes, Groups, and Matrixes directly to
Pro Tools. An output bus signal to Pro Tools is always postfader, and therefore will reflect any processing occurring on the
channels assigned to the bus or processing on the bus itself.
You can monitor a Pro Tools recording through your S3L system
while the performance and the recording is in progress. This procedure shows how to monitor a stereo mix from Pro Tools on a
S3L system stereo FX Return channel. Stereo Input Channels
may also be used.
An output bus can be assigned to multiple output destinations.
On the VENUE System
To monitor a Pro Tools Recording:
To route a bus directly to Pro Tools for a recording:
1
Go to the Patchbay and click the Outputs tab.
2
Click the tab at the left of the grid for the channel or bus type
you are routing.
3
Click the Pro Tools tab at the top right of the grid.
4
Click in the channel grid to assign a channel or bus (listed on
the left) to an available Pro Tools output channel (listed across
the top).
5
Set the levels for the recording by adjusting the faders or
Global Control encoders for the busses you are sending to
Pro Tools
6
Configure Pro Tools for recording.
Using Assignable Inputs for Playback
You can route channels from Pro Tools to S3L system Input
Channels and FX Returns for playback. You can use this feature
to use pre-recorded click tracks or other material in a performance, mix down the Pro Tools session using your S3L system,
or for monitoring the Pro Tools recording through your S3L system.
1
Make sure the S3L system and the Pro Tools system are connected and configured.
2
Go to the Patchbay page and click the Inputs tab.
3
Click the Pro Tools tab along the top of the patching grid.
4
Click the FX Returns tab to the left of the patching grid.
5
Click in the patching grid to assign two Pro Tools assignable
inputs to a stereo FX Return.
It is recommended that you use an odd-even pair of inputs
(such as 19–20).
6
Make sure that the FX Return is not assigned to an output bus
such as the Mains or a Group.
7
To monitor the recording, press the Solo switch for the FX Return.
To hear panning in Pro Tools, set your VENUE system solo
mode to Stereo AFL. Go to Options > Busses and select
Stereo AFL from the Type pop-up menu.
On the Pro Tools System
To monitor a Pro Tools Recording:
To route Pro Tools assignable inputs to Input Channels and
FX Returns:
1
Go to the Patchbay page and click the Inputs tab.
2
Click the Channels or FX Returns tab to the left of the grid to
display the type of channels you want to use.
3
Click the Pro Tools tab at the top right of the grid to show the
available Pro Tools assignable inputs.
4
Click in the grid to route Pro Tools assignable inputs to Input
Channels or FX Returns.
5
Assign routing for each Pro Tools assignable input as needed:
• Assign to the main L/R bus to include Pro Tools audio in
the main mix of a performance.
• Assign to a Group, Aux, or Matrix for submixing and monitoring.
To avoid potential feedback loops, make sure no channels
are simultaneously routing to and receiving from any record-enabled Pro Tools tracks.
262
S3L System Guide
1
Launch Pro Tools and, if necessary, create a session, and create and name tracks.
2
In your Pro Tools session, click any Track Output selector.
Output Path selector
3
From the menu, select Output and choose the corresponding
output pair.
4
Assign all tracks in the session to the same output pair.
To auto-assign all tracks to the same output, hold down
Option (Mac) or Alt (Windows) on your Pro Tools computer keyboard while assigning any track output.
5
While Pro Tools is recording, you can adjust Pro Tools faders
and pan without affecting the recording.
Using Input Mode
When Input mode is enabled, Pro Tools (or another Ethernet
AVB source) is the main source of audio signals for your S3L
system. Audio channels from your external device appear
one-for-one in place of Stage inputs in the VENUE Patchbay.
In Input mode, changes made to Input Gain cannot be applied to
channels when switching back to Stage inputs. Additionally, input channel Gain can be stored in Snapshots in Input mode.
Snapshot PRE Settings in Input Mode
The PRE Data Type Scope button on the Snapshots page lets you
recall the preamplifier settings on inputs for all scoped Input
Channels. Go to the Options > Snapshots page to set the PRE parameters 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
HPF freq and state
Yes
Yes
Phase
Yes
Yes
Gain
Yes
Yes
Phantom Power
No
No
Pad
No
No
To enable Input mode:
1
Put your S3L system into Config mode
2
In VENUE, go to Options > System.
3
Click Edit.
4
In the Input Channel Source section, click Pro Tools.
5
From the pop-up menu, choose Input Mode
6
Click Apply. All S3L system input channels with Stage inputs
assigned to them are replaced by corresponding inputs from
Pro Tools, and Pro Tools icons appears in the Patchbay Patching Grid for the affected channels.
Enabling VENUE Link
VENUE Link must be enabled in VENUE and in Pro Tools. You
can use and enable VENUE Link independently of Ethernet AVB
audio (for example, if you are recording to Pro Tools using a
source from the S3L system other than Ethernet AVB audio, but
you want to exchange data between systems using VENUE
Link). However, a direct connection between the S3L system and
Pro Tools is still required, and routers, hubs, and switches are not
supported.
Specifying the channel Pickoff source
The VENUE Link connection and settings are separate
from ECx Remote Control Network connections and settings. If you are running ECx, be sure to configure ECx
separately.
Adjusting Input Gain in Input Mode
In Input mode, Input Gain is adjusted using the Gain encoders.
Digital gain (-20 dB to +18 dB) is available for all inputs.
When switching from Stage mode to Input mode, the Input Gain
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.
Enabling VENUE Link In VENUE
To enable VENUE Link in VENUE:
1
Make sure the S3L and Pro Tools are connected as described
in “Connecting to Pro Tools” on page 258.
2
In VENUE, go to Options > Interaction, and click the VENUE
Link Settings button in the Ethernet Control section.
VENUE Link settings button
Chapter 25: Pro Tools Recording and Playback 263
3
Click in the System Name box, type in a name for your
VENUE system, and press Enter on your keyboard.
Entering a system name
4
Click Apply.
5
In the Ethernet Control section, select Enable VENUE Link.
Enabling VENUE Link in Pro Tools
To enable VENUE Link in Pro Tools:
1
Launch Pro Tools if it is not already launched. If the Quick
Start dialog appears, click Cancel.
2
Choose Setup > Peripherals to open the Peripherals dialog,
then click the VENUE tab.
3
In the System Name box, enter a name for your Pro Tools system.
4
Choose your S3L system from the VENUE System pop-up
menu. When a connection is established, “connected” is displayed next to the name of the connected VENUE system.
If you have not named your S3L system, choose the IP address of the S3L system VENUE Link connection from the
pop-up menu (such as 169.xxx.xxx.xx).
Enabling VENUE Link
6
Proceed to “Setting the Computer IP Address” on page 264.
Setting the Computer IP Address
Make sure your Pro Tools computer is set so it obtains an IP address automatically using DHCP.
To automatically set the IP address on your Mac:
Choosing the S3L system from the VENUE System pop-up menu
1
Launch System Preferences > Network.
5
2
Do one of the following:
• If you connected from a Network port on the S3 control surface to an Ethernet port on the computer, choose Ethernet
from the network connections services list.
• If you connected from a Network port on the S3 control surface to a Thunderbolt port on the computer, choose Thunderbolt Ethernet from the list.
3
Choose Using DHCP from the Configure menu. An IP address
is automatically assigned to the computer.
4
Click Apply.
On the VENUE tab of the Peripherals dialog, confirm that
your VENUE and Pro Tools systems share the same TCP/UDP
port setting.
Troubleshooting VENUE Link Connections
If you cannot establish VENUE Link between systems, try either
or both of the following:
In Pro Tools, choose Setup > Peripherals > VENUE, and enter
a new number between 1024–65535 (except 5900) into the
TCP/UDP Port field. In VENUE, go to the Options > Interaction
page, click the VENUE Link Settings 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 Interface pop-up under Advanced Network
Settings matches the IP address as shown in the IP Address field
for the VENUE Link connection on the System Preferences >
Network page of your computer. If it does not match, click the Interface pop-up and choose that IP address.
Mac Network Settings screen showing an active network connection
to the S3L system
Choosing an IP address from the Interface pop-up in Pro Tools
264
S3L System Guide
Using VENUE Link
This section provides instructions on how to use the following
VENUE Link features:
• “Create a Session from VENUE” on page 265.
• “Importing VENUE Channel Names as Track Names” on
page 266
• “Creating a Pro Tools Marker from a Snapshot” on
page 267.
Track Assignments in Pro Tools
New tracks appear in the Pro Tools Edit and Mix windows as follows, depending on the type of S3L system channel:
Direct Digital Splits In the new Pro Tools session, mono and stereo tracks are created for all S3L system mono and stereo Input
Channels and FX Returns that have Stage inputs assigned to
them. Tracks are named automatically based on their corresponding Stage input channel names. Duplicate track names are appended incrementally (such as “.1,” and “.2,”).
• “Controlling Pro Tools Using Events” on page 268
Create a Session from VENUE
When you create a Pro Tools session from VENUE, tracks are
automatically created, named, and given I/O assignments based
on the currently loaded VENUE Show file. New audio tracks are
created for all assigned input and output channels in the VENUE
Patchbay.
Creating a session from VENUE is part of the Virtual Soundcheck workflow. When you create a Pro Tools session from
VENUE, you ensure that your Pro Tools track I/O assignments
match your S3L system Patchbay assignments one-for-one.
Mono Stage
input track
Duplicate
track
Stereo Stage
input track
To create a session from VENUE:
Stage input channel tracks in the Pro Tools Edit window
1
In VENUE, make sure you have loaded the Show file you want
to use as the basis for your Pro Tools session.
Track input and outputs are automatically assigned in Pro Tools,
and are shown in the Track I/O selectors.
2
In Pro Tools, choose File > New Session to open the New Session dialog, then choose Create Session from VENUE.
Track outputs follow input assignments one-for-one to facilitate
Virtual Soundchecks. Track order (top to bottom in the Edit window and left to right in the Mix window) follows the channel order on your S3L system.
If the Quick Start dialog appears, choose Create Session
from VENUE.
3
Set session parameters such as Audio File Type and Bit Depth.
Sample Rate is fixed at 48 kHz.
4
Click OK.
5
The name of the currently loaded Show file in VENUE appears as the session name in the Save dialog. Accept the name
or edit it, and select the drive where you want to save the session. The session should be saved on a dedicated audio drive.
Track input
Track output
Track I/O selectors showing I/O assignments for digital splits
Tracks are created for any Stage input channels patched in
the VENUE system Patchbay. To avoid creating tracks for
unneeded inputs, go to Patchbay > Inputs in VENUE and
deselect any unwanted Stage input channels (click in the
patching grid to unassign)
Save dialog showing the currently loaded Show file
6
Click Save.
Chapter 25: Pro Tools Recording and Playback 265
Assignable Outputs In the Pro Tools session, new mono and ste-
reo tracks are created for any S3L system channels patched to Assignable outputs under the Pro Tools tab in the VENUE Patchbay
patching grid. Tracks are named automatically based on their corresponding channel names in VENUE.
Importing VENUE Channel Names as
Track Names
You can import VENUE channel names as track names into an
existing Pro Tools session. You can use this option in the following ways:
• If you have created a session from VENUE, but prior to recording you have changed the names of channels in
VENUE, use this feature to update track names automatically.
Stereo Direct
Outs
• 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-related track names without affecting the other
non-VENUE tracks.
Stereo Group
Mono Aux
If you have added a channel to the currently loaded Show
file that does not have a corresponding Pro Tools track, create a new track, set the input assignment, then choose
Import > VENUE Channel Names as Track Names to import
names.
Mono Matrix
To import VENUE channel names into an existing Pro Tools
session:
Imported assignable channel track names
Track names are appended with the corresponding output type as
follows:
VENUE Channel Type
Track Name Appended With
Group
(Grp)
Aux
(Aux)
Matrix
(Mtx)
Mains
(Left-Right)
(Center)
(Mono)
Monitor
(Mon)
Direct Out
(Dir)
Plug-in output
(PI)
Track input and outputs are automatically assigned in Pro Tools,
and are shown in the Track I/O selectors.
By default, all track output paths for Assignable outputs are assigned to Bus 1-2 in Pro Tools. This routing can be changed.
Track input
Track Output
I/O assignments for Assignable outputs from S3L
266
S3L System Guide

In an existing Pro Tools session, from the File menu, choose
Import > VENUE Channel Names as Track Names.
Track names are imported the same way as described above (see
“Create a Session from VENUE” on page 265). However, I/O
routing for all tracks do not change, and no new tracks are created.
When you create new sessions in Pro Tools, you can use
pre-formatted VENUE session templates, or you can create
your own template, which you can then use as the basis for
new sessions. See the Pro Tools Reference Guide for information on using templates.
Creating a Pro Tools Marker from a
Snapshot
With VENUE Link enabled, you can set individual snapshots to
create a new Marker in the Pro Tools Timeline. While Pro Tools
is recording, whenever that snapshot is recalled, a new Marker is
created and named according to the recalled snapshot.
Once the marker is created, subsequent recalls of that snapshot
can locate (cue) the Pro Tools playback 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 effects, 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
creating Pro Tools Markers. In Pro Tools, you can edit
VENUE-generated Markers to rename them, move them to a different location in the Timeline, disable snapshot “chase,” and reassociate a Marker with a different snapshot.
To create a Pro Tools marker from a VENUE snapshot:
1
On the VENUE System, go to the Snapshots page.
2
In the Snapshots list, click the Marker icon to enable that snapshot to create a Pro Tools Marker when that snapshot is recalled during recording.
If the Marker icon is not displayed, right-click one of the
Snapshots in the list and choose Unhide Marker.
7
On your VENUE system, select a snapshot from the snapshot
list and click Recall to recall that snapshot.
8
Recall any other Snapshots on your VENUE system as required. Markers appear in the Pro Tools Markers ruler for any
recalled VENUE Snapshots, and are automatically named to
match the corresponding VENUE snapshot.
Pro Tools Markers ruler showing snapshot-generated Markers
To locate to a Pro Tools marker when recalling a snapshot:
1
Make sure Pro Tools is launched and a session is loaded with
Markers created from snapshots.
2
In VENUE, go to the Snapshots page.
3
In the Snapshots list, select a snapshot that is associated with a
Pro Tools Marker, click its Marker icon so that it is lit green,
and click Recall.
If Pro Tools is playing back, playback continues when recalling
any snapshot associated with a Pro Tools Marker.
Editing Markers Created from VENUE Snapshots
A Marker linked to a VENUE snapshot can be edited like any
other Pro Tools Memory Location. You can rename Markers, and
move Markers, disable snapshot “chase,” and re-associate a
Marker with a different VENUE snapshot.
For complete information on Memory Locations, see the
Pro Tools Reference Guide.
Marker icon
To rename a Memory Location for a Marker:
1
In the Edit window, double-click the Marker in the Markers
ruler to open the Edit Memory Locations dialog.
2
Enter the new name for the Memory Location, and click OK.
VENUE Snapshots list showing Marker icon enabled
Shift-click multiple Snapshots and toggle the Marker icon to
enable or disable multiple consecutive Snapshots in the
Snapshots list. Control-click multiple Snapshots to select
multiple non-consecutive Snapshots. Right-click in the
Snapshots list and choose Select All to select all Snapshots.
The edited marker remains linked to the VENUE snapshot.
To move a VENUE snapshot-generated Marker:

3
In Pro Tools, locate the Markers ruler. If you do not see it,
choose View > Rulers > Markers.
4
Click the track’s Record Enable button. The Record Enable
button flashes when enabled, and is lit solid when engaged.
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 record enable all tracks at once, Alt-click (Windows) or
Option-click (Mac) one track Record Enable button.
5
In the Edit window toolbar, or in the Transport window (Window > Transport) click the Record button to arm the Transport.
6
In Pro Tools, press the Spacebar to start recording.
Chapter 25: Pro Tools Recording and Playback 267
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 Memory Locations dialog.
2
In the General Properties section, deselect VENUE Snapshot.
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 locate functionality.
Triggering a Single Pro Tools Function
To trigger a single Pro Tools function:
1
Make sure the Pro Tools system is connected, and VENUE
Link is enabled on both systems.
2
In VENUE, go to Option > Events.
3
Click the New Event List Command button.
4
Double-click the new untitled event in the Event list and give
the Event a name such as “Pro Tools Play Engage.”
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 Memory Locations dialog.
2
In the General Properties section, next to VENUE snapshot,
choose a different VENUE snapshot from the pop-up menu.
3
Click OK. The selected VENUE snapshot locates the
Pro Tools playback cursor to the edited Marker.
New event in the Event list
Make sure the event you created is selected (highlighted in
blue) before adding triggers and actions.
Controlling Pro Tools Using Events
When VENUE Link is enabled, you can control Pro Tools functions from the S3 control surface using events. The following
Pro Tools functions are available from the Events tab Actions list,
and can be triggered by the Function switches, Touchstrip zones,
and a footswitch:
5
Click the ADD pop-up menu in the Triggers list and select a
trigger type (such as Function Switch 16). The selected trigger
type is added to the Trigger list for the currently selected event,
with its default properties.
Stop This stops the Pro Tools transport.
Play This initiates Play in the Pro Tools transport.
Record This arms the Pro Tools transport and initiates recording.
Function switch added to the Event Triggers list
Record Enable All VENUE Tracks This record-enables all tracks
6
in the current Pro Tools session that have a I/O assignments from
VENUE.
Click the Add pop-up menu in the Actions list, locate the
Pro Tools sub-menu, and select a Pro Tools Transport function
such as Play. The selected action type is added to the Action
list for the currently selected event, with its default properties.
Record Disable All VENUE Tracks This record-disables all
tracks in the current Pro Tools session that have I/O assignments
from VENUE.
You can trigger a single action (such as engaging Play), or you
can trigger multiple actions. For example, you can record-enable
all tracks, arm the Pro Tools transport, and initiate recording with
the press of a Function switch or footswitch.
For more information on using events, see Chapter 21,
“Events.”
Selecting a Pro Tools Transport command from the Actions pop-up
When Function switch 16 is pressed, playback of the current
Pro Tools session commences.
268
S3L System Guide
Triggering Multiple Pro Tools Functions
The following example shows how to record-enable all tracks
from VENUE, arm the Pro Tools transport for recording, and initiate recording using a single trigger.
To record enable all tracks and initiate recording in Pro Tools:
1
Make sure the Pro Tools system is connected, and VENUE
Link is enabled on both systems.
2
In VENUE, go to Option > Events.
3
Click the New Event List Command button and name the
event.
A new named and selected event.
4
Click the ADD pop-up menu in the Triggers list and select a
trigger type (such as a Function switch). The selected trigger
type is added to the Trigger list for the currently selected event,
with its default properties.
5
Click the Add pop-up menu in the Actions list, locate the
Pro Tools sub-menu, and select Record Enable All VENUE
Tracks.
6
Click the Add pop-up menu again, and select Record from the
Pro Tools sub-menu. Both actions now appear in the Actions
list.
7
If desired, double-click Pro Tools-Record, Toggle, Latch action in the Actions list to edit the action.
You can include a wait time for the Record action to make
sure all tracks are properly armed before initiating the recording. For the Pro Tools-Record action, click in the Wait
value box to highlight it, and enter a desired wait time, such
as one second (1.0 sec).
8
Click anywhere in Actions list to finish editing the action.
Actions list showing Pro Tools Record Enable and Record actions
When the selected trigger is pressed, all tracks in the current
Pro Tools session with valid VENUE I/O assignments are enabled for recording, the Pro Tools transport is armed, and the recording is initiated.
Chapter 25: Pro Tools Recording and Playback 269
Part VIII: Specifications and
Troubleshooting
Chapter 26: Mechanical Specifications
S3 Control Surface
Parameter
Specification
Height (front)
Height (back)
1.3 inches (32.0 mm)
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)
Footswitch Connector
1/4-inch TRS
Light Connectors (x2)
XLR3–F, LED console light required
Chapter 26: Mechanical Specifications 273
28 in
(711.1 mm)
2.2 in
(57.3 mm)
1.8 in
(45.2 mm)
.6 in
(14.4 mm)
14.3 in
(363.1 mm)
2.85 in
(71.7 mm)
1 in
(25.4 mm)
1.3 in
(32 mm)
Dimensions, S3 control surface
274
S3L System Guide
E3 Engine
Parameter
Specification
Maximum Height
3.5 inches (89 mm)
Rack Spaces
2U
Maximum Width
19 inches (483 mm)
Maximum Depth
14.6 inches (371.5 mm)
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)
Digital Audio Connectors (x4)
AES3 XLR3-M (x2), AES3 XLR3-F (x2)
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)
17.5 in
(445 mm)
.75 in
(19 mm)
14.6 in
(371.5 mm)
.2 in
(5.5 mm)
19 in
(483 mm)
3.5 in
(89 mm)
Dimensions. E3 engine
Chapter 26: Mechanical Specifications 275
Stage 16
Parameter
Specification
Height
6.9 in (175.2 mm)
Rack Spaces
4U
Width (with rack ears)
Width (with rack ears configured as handles)
19 inches (483 mm)
15.6 inches (396 mm)
Depth (with rack ears)
Depth (with rack ears configured as handles)
7.9 in (201 mm)
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
Network Connectors (x2)
RJ-45 Neutrik etherCON
Analog Audio Connectors (x24)
XLR3-M balanced (x8), XLR3-F balanced (x16)
Digital Audio Connectors (x2)
AES3 XLR3-M
19 in
(483 mm)
15.6 in
(396 mm)
6.9 in
(175.2 mm)
7.9 in
(201 mm)
1.8 in
15.3 in
(46.3 mm)
(388.7 mm)
9.8 in
(249 mm)
Dimensions: Stage 16
276
S3L System Guide
Power and Status LED Codes
Network Port Snake Act and Sig LEDs
E3 Engine
Each S3 control surface, E3 engine, and Stage 16 Network port
has its own Activity (Act) and Signal (Sig) LEDs. Each device is
ready for use when the Act and Sig LEDs are lit solid for each
connected Network port.
One single-color LED on the front panel of the E3 engine lights to
indicate the E3 engine is powered on and ready for use.
Act LED The Act (activity) LED lights solid to indicate that AVB
Stage 16
Two bi-color LEDs on the front panel of the Stage 16 are provided to indicate power status, internal fan status, and firmware
update status when updating device firmware.
Power and fan faults are also communicated on-screen via
a warning dialog box.
Power LED
Ethernet traffic is currently active on the connected audio snake
cable. If a redundant snake is connected, or if a Stage 16 is
daisy-chained to another Stage 16, then ports A and B Act LEDs
will be lit.
Sig LED The Sig (signal) LED lights solid to indicate that a valid
communication connection exists between devices. If a redundant snake is connected, or if the Stage 16 is daisy chained to another Stage 16, then ports A and B Sig LEDs will be lit.
The Power LED on the Stage IO box lights to indicate status as
follows:
Stage IO Box Power LED
Power LED
Indicates
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.
Yellow flashing
A Stage IO box power supply temperature
alert. This may indicate that the device is
overheating. Power down the device and
check that the device is properly ventilated.
Status LED
The Status LED on the Stage IO box lights to indicate status as
follows:
Stage IO Box Status LED
Status LED
Indicates
Green solid
Initialization is complete and the device is
ready to pass audio.
Yellow solid
The device is initializing. No audio passes
during initialization.
Green flashing
A firmware update for the device is in progress. No audio passes during a firmware
update.
Chapter 26: Mechanical Specifications 277
Chapter 27: Audio Specifications
All specifications subject to change.
S3 Control Surface Audio Specifications
S3 Analog Mic Inputs, Pad Disabled
Value
Parameter
Conditions
Min.
Phantom Power
Typ.
Max.
Units
48
Volts
Input Sensitivity
@ 997 Hz, Gain = 10 dB (min.)
+7.979
dBu
Equivalent Input Noise (EIN)
Gain = 60 dB, 150  source impedance
-126.1
dB
Frequency Response
VINPUT = -12.035 dBu, 20 Hz – 20 kHz relative to
1 kHz, Gain = 10 dB (min.)
Dynamic Range Unweighted
150  source impedance, Gain = 10 dB (min.)
-111.2
dB
Dynamic Range A weighted
150 source impedance, Gain = 10 dB (min.)
-113.8
dB
THD+N Amp
@ 997Hz, Gain = 40 dB
0.0014
%
THD+N Freq
measured at -25.242 dBu, 20 Hz – 20 kHz,
Gain = 40 dB
Common Mode Rejection
Ratio
-0.021
0
-0.236
dB
0.0007
0.0014
0.0045
%
VINPUT = -21.560 dBu, 20 Hz – 20 kHz,
Gain = 10 dB (min.)
-71.7
-80.8
-81.4
dB
Inter-channel Crosstalk
VINPUT = -12.150 dBu, 20 Hz – 20 kHz,
Gain = 10 dB (min)
-120.4
-109.6
-99.2
dB
Input Impedance
@1 kHz
3.5K
ohms
Chapter 27: Audio Specifications 279
S3 Analog Mic Inputs, Pad Enabled
Value
Parameter
Conditions
Min.
Phantom Power
Input Sensitivity
@ 997Hz, Gain = 10 dB (min.)
Frequency Response
VINPUT =+8.225 dBu, 20 Hz – 20 kHz relative to
-0.016
Typ.
Max.
Units
48
Volts
+28.322
dBu
0
-0.235
dB
1 kHz, Gain = 10 dB (min.)
Dynamic Range Unweighted
150  source impedance, Gain = 10 dB (min.)
-111.2
dB
Dynamic Range A Weighted
150  source impedance, Gain = 10 dB (min.)
-113.9
dB
THD+N Amp
@ 997 Hz, Gain =40 dB
0.0018
%
THD+N Freq
measured at -3.808 dBu, 20 Hz – 20 kHz,
Gain = 40 dB
Common Mode Rejection Ratio
VINPUT = -1.276 dBu, 20 Hz – 20 kHz,
0.0012
0.0018
0.0064
%
-59.3
-63.8
-63.9
dB
-122.1
-109.1
-98.2
dB
Gain = 20 dB
Inter-Channel Crosstalk
VINPUT = +8.233 dBu, 20 Hz – 20 kHz,
Gain = 10 dB (min.)
Input Impedance
3.7k
@1 kHz
ohms
S3 Analog Line Inputs
Value
Parameter
Conditions
Input Sensitivity
@ 997Hz, Gain = 10 dB (min.)
Equivalent Input Noise (EIN)
Gain = 18 dB, 150source impedance
Frequency Response
VINPUT =-1.520 dBu, 20 Hz – 20 kHz relative to
Min.
-0.018
Typ.
Max.
Units
+18.471
dBu
-93.9
dB
0
-0.233
dB
1 kHz, Gain = 10 dB (min.)
Dynamic Range Unweighted
150  source impedance, Gain = 10 dB (min.)
-110.4
dB
Dynamic Range A weighted
150  source impedance, Gain = 10 dB (min.)
-113
dB
THD+N Amp
@ 997Hz, Gain =40 dB
0.0010
%
THD+N Freq
measured at +12.193 dBu, 20 Hz – 20 kHz,
Gain = 40 dB
Common Mode Rejection Ratio
VINPUT = -1.523 dBu, 20 Hz – 20 kHz,
0.0005
0.0010
0.0016
%
-64.4
-66.8
-67.0
dB
-117.8
-110.1
-98.3
dB
Gain = 0 dB
Inter-Channel Crosstalk
VINPUT = -1.520 dBu, 20 Hz – 20 kHz,
Gain = 0 dB (min.)
Input Impedance
280
S3L System Guide
@1 kHz
5.1k
ohms
S3 Analog Outputs
Value
Parameter
Conditions
Output Sensitivity
@ 997 Hz
Output Impedance
@1 kHz
Residual Output Noise
Min.
Typ.
Max.
Units
+24.201
dBu
103.5
ohms
20 Hz – 20 kHz
-88
dBu
Round Trip Latency
Console input to Console output
3.2
ms
Round Trip Latency
Console input to Stage 16 output
3.2
ms
S3 Headphone Output
Value
Parameter
Conditions
Output Impedance
@1 kHz
Output Sensitivity
32 load @ 997 Hz, max output
Max RMS Power Output
+20.157 dBu 32 ohm headphones
+19 dBu 600 ohm headphones
Min.
Typ.
Max.
Units
1
ohms
+17.932
dBV
1.940
163.1
mW
Chapter 27: Audio Specifications 281
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 for mix bus processing
E3 Analog Mic Inputs, Pad Disabled
Value
Parameter
Conditions
Min.
Phantom Power
Typ.
Max.
Units
48
Volts
Input Sensitivity
@ 997 Hz, Gain = 10 dB (min.)
+7.988
dBu
Equivalent Input Noise (EIN)
Gain = 60 dB, 150  source impedance
-123.5
dB
Frequency Response
VINPUT = -12.142 dBu, 20 Hz – 20 kHz relative to
1 kHz, Gain = 10 dB (min.)
Dynamic Range Unweighted
150  source impedance, Gain = 10 dB (min.)
-108.1
dB
Dynamic Range A weighted
150 source impedance, Gain = 10 dB (min.)
-110.7
dB
THD+N Amp
@ 997 Hz, Gain = 40 dB
0.0033
%
THD+N Freq
measured at -32.227 dBu, 20 Hz – 20 kHz,
Gain = 40 dB
Common Mode Rejection
Ratio
-0.064
0
-0.552
dB
0.0024
0.0033
0.0040
%
VINPUT = -21.731 dBu, 20 Hz – 20 kHz,
Gain = 10 dB (min.)
64.3
-74.3
-75.1
dB
Inter-channel Crosstalk
VINPUT = -12.150 dBu, 20 Hz – 20 kHz,
Gain = 10 dB (min)
-121.4
-106.3
-95.1
dB
Input Impedance
@1 kHz
3.6K
ohms
E3 Analog Mic Inputs, Pad Enabled
Value
Parameter
Conditions
Min.
Phantom Power
Input Sensitivity
@ 997 Hz, Gain = 10 dB (min.)
Frequency Response
VINPUT =+8.028 dBu, 20 Hz – 20 kHz relative to
-0.016
Typ.
Max.
Units
48
Volts
+28.168
dBu
0
-0.914
dB
1 kHz, Gain = 10 dB (min.)
Dynamic Range Unweighted
150  source impedance, Gain = 10 dB (min.)
-108
dB
Dynamic Range A weighted
150  source impedance, Gain = 10 dB (min.)
-110.7
dB
THD+N Amp
@ 997 Hz, Gain =40 dB
0.0046
%
THD+N Freq
measured at -3.808 dBu, 20 Hz – 20 kHz,
Gain = 40 dB
Common Mode Rejection Ratio VINPUT = -1.276 dBu, 20 Hz – 20 kHz,
0.0012
0.0046
0.0051
%
-59.3
-64.8
-65.0
dB
-122.1
-106.1
-95.0
dB
Gain = 20 dB
Inter-Channel Crosstalk
VINPUT = +8.233 dBu, 20 Hz – 20 kHz,
Input Impedance
@1 kHz
Gain = 10 dB (min.)
282
S3L System Guide
3.7k
ohms
E3 Analog Outputs
Value
Parameter
Conditions
Output Sensitivity
@ 997 Hz
Output Impedance
Min.
Typ.
Max.
Units
+24.164
dBu
@1 kHz
100
ohms
Residual Output Noise
20 Hz – 20 kHz
-84
dBu
Round Trip Latency
Engine input to Engine output
2.2
ms
Round Trip Latency
Engine input to Stage output
2.7
ms
E3 AES/EBU Digital Inputs
Value
Parameter
Conditions
Min.
Typ.
Max.
Units
Word Length
24
bit
Sample Rate
48
kHz
32
kHz
Sample Rate Conversion
Always active
E3 AES/EBU Digital Outputs
Value
Parameter
Conditions
Min.
Typ.
Max.
Units
Word Length
24
bit
Sample Rate
48
kHz
Channel Status Info
Pro, Audio 48 kHz, No Emphasis
Cable Length
Without equalization, 110 ohm cable
100
meters
Chapter 27: Audio Specifications 283
Stage 16 Audio Specifications
Stage 16 Analog Mic Inputs, Pad Disabled
Value
Parameter
Conditions
Min.
Phantom Power
Typ.
Max.
Units
48
Volts
Input Sensitivity
@ 997 Hz, Gain = 10 dB (min.)
+7.966
dBu
Equivalent Input Noise (EIN)
Gain = 60 dB, 150  source impedance
-124.5
dB
Frequency Response
VINPUT = -12.035 dBu, 20 Hz – 20 kHz relative to
1 kHz, Gain = 10 dB (min.)
Dynamic Range Unweighted
150  source impedance, Gain = 10 dB (min.)
-108.2
dB
Dynamic Range A weighted
150 source impedance, Gain = 10 dB (min.)
-110.9
dB
THD + N Amp
@ 997Hz, Gain = 40 dB
0.0034
%
THD + N Freq
measured at -25.242 dBu, 20 Hz – 20 kHz,
Gain = 40 dB
Common Mode Rejection
Ratio
-0.068
0
-0.559
dB
0.0025
0.0034
0.0038
%
VINPUT = -21.560 dBu, 20 Hz – 20 kHz,
Gain = 10 dB (min.)
-72.1
-83.7
-84.4
dB
Inter-Channel Crosstalk
VINPUT = -12.150 dBu, 20 Hz – 20 kHz,
Gain = 10 dB (min)
-115.5
-106.5
-95.6
dB
Input Impedance
@1 kHz
3.4K
ohms
Stage 16 Analog Mic Inputs, Pad Enabled
Value
Parameter
Conditions
Min.
Phantom Power
Input Sensitivity
@ 997 Hz, Gain = 10 dB (min.)
Frequency Response
VINPUT =+8.225 dBu, 20 Hz – 20 kHz relative to
-0.062
Typ.
Max.
Units
48
Volts
+28.218
dBu
0
-0.874
dB
1 kHz, Gain = 10 dB (min.)
Dynamic Range Unweighted
150  source impedance, Gain = 10 dB (min.)
-108.1
dB
Dynamic Range A weighted
150  source impedance, Gain = 10 dB (min.)
-110.7
dB
THD + N Amp
@ 997Hz, Gain =40 dB
0.0052
%
THD + N Freq
measured at -3.808 dBu, 20 Hz – 20 kHz,
Gain = 40 dB
Common Mode Rejection Ratio
VINPUT = -1.276 dBu, 20 Hz – 20 kHz,
0.0036
0.0052
0.0060
%
-62.9
-63.1
-63.6
dB
-122.9
-106.9
-95.2
dB
Gain = 20 dB
Inter-channel Crosstalk
VINPUT = +8.233 dBu, 20 Hz – 20 kHz,
Gain = 10 dB (min.)
Input Impedance
284
S3L System Guide
@1 kHz
3.7k
ohms
Stage 16 Analog Outputs
Value
Parameter
Conditions
Output Sensitivity
@ 997 Hz
Output impedance
Min.
Typ.
Max.
Units
+24.164
dBu
@1 kHz
105
ohms
Residual output noise
20 Hz – 20 kHz
-85
dBu
Round trip latency
Stage input to Stage output
3.3
ms
Stage 16 AES/EBU Digital Outputs
Value
Parameter
Conditions
Min.
Typ.
Max.
Units
Word Length
24
bit
Sample Rate
48
kHz
Channel Status Info
Pro, Audio 48 kHz, No Emphasis
Cable length
Without equalization, 110 ohm cable
100
meters
Chapter 27: Audio Specifications 285
Chapter 28: S3L System Signal Flow Diagrams
Monitor Bus Signal Flow Diagram
Chapter 28: S3L System Signal Flow Diagrams 287
Input Signal Flow Diagram
288
S3L System Guide
Output Signal Flow Diagram
Chapter 28: S3L System Signal Flow Diagrams 289
Chapter 29: Troubleshooting
This chapter provides troubleshooting and problem solving information. It includes a table of problems and solutions that provides answers to common questions, explains on-screen text messages, and refers you to specific sections later in this chapter or elsewhere in
this guide for details and instructions.
Problem Solving
The following table provides descriptions of situations that may arise while operating a VENUE system and includes common questions, symptoms and error messages, along with possible solutions.
Table 9. Troubleshooting Errors and Messages
Symptom or Message
Possible Cause
Solution
Faders, Switches, Channels, and Devices
Fader path was blocked during startup calibration.
Reset the S3 control surface by right-clicking the Console
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” on page 294).
S3 control surface needs to be reset.
Reset the console. See “Resetting Hardware Components” on
page 295. If possible, wait for a silent portion of a performance
to avoid unexpected gain changes 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 connecting the console to the
E3 engine is properly connected and not damaged.
Stage 16 needs to be reset.
Reset the Stage 16. See “Resetting Hardware Components”
on page 295.
Bad or missing connection to the E3 engine,
to another Stage 16, or to power.
Check to make sure the audio snake connecting the Stage 16
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.
Cannot assign Stage 16
Config mode is not enabled.
Enable Config mode. See “Enabling Config Mode” on
page 17.
E3 engine I/O is not passing
audio
E3 engine I/O needs to be reset.
Reset the E3 engine I/O. See “Resetting Hardware Components” on page 295.
Cannot pan an Aux Send
from the channel encoders
Aux panning is configured to follow channel
pan.
In the Options > Busses page, select the Follows Channel Pan
option. Deselect for each Aux Send you want to pan independently from channel pan.
The device is no longer present.
Right-click the device graphic in the Options > Devices page
and choose Forget <device> to dismiss warning dialogs.
Bad or missing connection to the E3 engine.
Check to make sure the cable connecting the device to the is
properly connected and not damaged, and that the device is
powered on.
Fader stuck
S3 control surface controls
have stopped working
Stage 16 I/O is not passing
audio
Previously connected
device is unavailable and is
grayed out in the
Options > Devices page
Chapter 29: Troubleshooting 291
Table 9. Troubleshooting Errors and Messages
Symptom or Message
Possible Cause
Solution
An incompatible plug-in, a corrupted data file
or application software, or a hardware error.
Check to make sure you are using the most current versions of
all your plug-ins (check with the manufacturers). If failures
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.
Determine if a certain Show file causes the system to fail consistently. If so, delete that file and see if problems persist. For
additional options, see “Performing a Soft Reset” on page 294.
Clear the console from the Options > System page and see if
problems persist.
If necessary, you can reinstall VENUE software by doing a
System Update (see “Using the System Restore Software” on
page 296).
If you suspect problems with the system hard drive, or the system software, you can do a complete restore (see “Using the
System Restore Software” on page 296).
Power down all equipment and check all cards and cable connections and power supplies.
The plug-in racks have gone offline, and
LOST is indicated in the Status box
on-screen. The racks go offline after some
conditions in which a plug-in or the DSP host
failure causes significant problems.
Follow the instructions on-screen to reset the racks (see
“Resetting the Plug-In Racks” on page 295).
A Show was loaded that references plug-ins
which are unavailable on the current system.
Install the plug-ins, if available (see “Installing and Authorizing
Plug-Ins” on page 161).
Remove or replace the plug-ins in the Show, or load a different
Show file.
A plug-in is not fully compatible and is causing failures.
Check all plug-ins to make sure you are using the most recent
versions. Go to Options > Plug-Ins and click the plug-in to display the version number.
Try disabling plug-ins one-by-one to see if doing so eliminates
problems (see “Enabling and Disabling Installed Plug-Ins” on
page 164).
A plug-in is installed that needs to be authorized for demo or full use.
Click Quit to dismiss the authorization dialog and continue
starting up (the plug-in will be unavailable).
Click Try to use the plug-in for a limited time in Demo mode.
Click Authorize if you are ready to authorize a plug-in using an
iLok. (See “Installing and Authorizing Plug-Ins” on page 161.)
A plug-in demo has expired.
Uninstall the plug-in listed in the authorization dialog (see
“Removing Plug-Ins” on page 163).
Startup and Restarts
Repeated failures
Plug-Ins
The plug-in racks need to
be reset
One or more plug-ins are
unavailable
Plug-in authorization dialogs appear every time the
system starts or restarts
292
S3L System Guide
Table 9. Troubleshooting Errors and Messages
Symptom or Message
Possible Cause
Solution
Bad or missing connection
Check connections to other components.
A device needs to be reset.
Reset the device. If unable to reset the device, power cycle the
device.
The racks have gone offline because a
plug-in has failed, or some circumstances
have caused the DSP engines to require a
reset.
Follow the instructions on-screen to reset the racks (see
“Resetting the Plug-In Racks” on page 295).
Bad or missing connection
Check Network connections to the E3 engine.
A unit needs to be reset.
Reset the device. If unable to reset the device, power cycle the
device.
System clock needs to be reset.
Reset the system clock. See “Setting the System Clock” on
page 19.
Sample Rate Conversion
Alert
SRC OFF LEDs flashing
(Systems with DSI option
only)
A sample rate mismatch or lack of clock has
been detected at a digital input.
No immediate action required; automatic sample rate conversion maintains digital throughput, allowing you to check settings and connections between VENUE and external digital
devices later. For more information on digital connections and
synchronization, see “About Digital Input and Sample Rate
Conversion” on page 235.
Hardware Monitor Alert
The system has detected a hardware component that is performing above or below its
hardware specification.
Click HW Monitor to access the Hardware Monitor Window for
the device. See “Hardware Monitoring Window” on page 294.
A Device Has Been Lost
A Stage 16 has been disconnected or has lost
power.
Check power and/or connection to the device.
If the device is not present, right-click the graphic of the corresponding Stage 16 and choose Forget IO Box Assignment.
Redundant Connection
Lost
If a primary and redundant audio connection
has been made to the device, one of the connections has been lost.
Check the audio network connection to the device. If a redundant connection is not present, press OK to dismiss the dialog.
Engine Internal Switch
Warning
Internal switch in the E3 engine has malfunctioned
Power-cycle the E3 engine
Warning Dialogs
One or More Devices Have
Failed
Plug-In Racks Need Reset
Console Connection Error
Date & Time Check
Chapter 29: Troubleshooting 293
Performing a Soft Reset
If your VENUE system ever needs to be reset, restart the system
To restart the system:
1
Go to the Options page and click the System tab.
2
Hold Default (Alt) and click the Shut Down button.
Shut Down button
If restarting the system does not correct a problem, you may have
to reset hardware components, identify and remove any incompatible plug-ins, or reinstall VENUE software using the System
Restore software.
Additional Reset Options
Additional shortcuts are provided while restarting the system,
which let you do the following:
• Back up the current show settings and clear the console. Use
this option if you suspect an auto-saved setting has become
corrupted. This lets you save your most recent settings and
clear the console without having to do a full system restore.
– or –
• Startup in Explorer, to be able to manually manage software
components. Use this option to troubleshoot the system if
problems arise early in the startup process and persist through
repeated restarts.
Backup and Clear Console
To backup and clear the console at restart:
1
Start or restart the system.
2
Watch the screen closely during the startup process. As soon as
the cursor becomes visible (and before the VENUE software
logo screen appears) press and hold the C key on the computer
keyboard. Continue to hold the C key (do not press it repeatedly).
3
Startup in Explorer
To start up the system in Explorer (bypassing VENUE software):
1
Start or restart the system, as necessary.
2
Watch the screen closely during the startup process. As soon as
the cursor becomes visible (and before the VENUE software
logo screen appears) press and hold the E key on the computer
keyboard. Continue to hold the E key (do not press it repeatedly) until you see the Explorer desktop.
3
From Explorer, you can manually find and delete suspect data
files, plug-ins, or perform other file management tasks.
If you are unsure about how to troubleshoot a computer and
its files, it is recommended that you contact VENUE customer
service.
Hardware Monitoring Window
The performance of hardware components can be viewed and
monitored using the Hardware Monitoring window.
Should a problem occur with any of the components in your system, the Hardware Monitoring window will provide information
that will be useful in troubleshooting while in contact with
VENUE customer service.
Accessing Hardware Monitoring
To access the Hardware Monitoring window, do any of the
following:
• Press Ctrl+Shift+M at any time to open the
Hardware Monitoring window.
• In the Options > Devices page, right-click on a system component and choose Hardware Monitoring in the pop-up
menu. This opens the Hardware Monitoring window for the
selected device.
• If the Hardware Monitoring Alert dialog appears on-screen,
click to select Show Hardware Monitor. The Hardware
Monitoring Alert dialog for the problem device appears automatically and identifies the reading that is out of specification.
The Hardware Monitoring Alert window is only displayed once
per device (should a problem ever be detected with that device).
The following is an example of the Hardware Monitoring Alert:
A dialog appears that lets 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
keyboard is reset instead of calling the Backup and Clear dialog. If you do not see the backup and clear dialog, repeat the
restart process and try again.
Hardware Monitoring Alert
294
S3L System Guide
Resetting Hardware Components
Resetting the Plug-In Racks
Some hardware can be reset from the Options > Devices screen,
or by power-cycling the component. It is recommended that you
perform a reset if, for example, the Hardware Monitor Alert dialog appears, or if a connected device stops communicating with
the rest of the system.
If the plug-in racks go offline they need to be reset to resume normal operation.
Do not reset the racks until there is a long enough break in
the performance that the rack can be fully rebuilt with no signal passing through. This is especially important when using
crossover plug-ins or gain-attenuating plug-ins.
To reset system hardware:
1
Put the system in Config mode.
2
Go to Options > Devices.
3
Right-click any displayed hardware components:
The following conditions apply when plug-ins go offline:
• When offline, plug-ins on Input Channels and FX Returns
continue to pass and process audio using their settings at the
time the racks went offline.
• Console
• Offline plug-ins on output channels and busses are muted.
• Engine
• You will not be able to adjust plug-ins settings until the
racks fully re-initialize.
• Stage 1–4
4
Choose Reset <Device>.
• Once the racks begin to reinitialize, plug-ins are unavailable and do not process audio.
• During reinitialization, plug-ins are loaded into rack slots
according to the last loaded Show file; plug-in racks are
turned off (all assigned plug-ins are made inactive).
Offline or Unavailable Devices
The system remembers the last hardware configuration used. If it
doesn't find all units at the next startup, it displays those devices
as grayed out in the Options > Devices page. Devices remain offline (and the system displays error messages alerting you to their
absence) until either the devices are powered up and come online,
or you tell the system to forget the offline units by right-clicking
the missing devices and choosing Forget.
The system software displays error messages alerting you if a device fails or is no longer available.
• When all plug-ins have loaded and the racks initialized, the
system displays a dialog alerting you that the racks are
ready to be brought back online (reactivated). This is provided as a final precaution against sudden changes to audio
when plug-ins resume processing.
Shortly after you confirm that you want the racks brought back
online, plug-ins resume processing audio and all parameters become available for editing.
To re-initialize (reset) the racks:
Utility Mode
The S3 control surface can be started up into a Utility mode that
can be useful for troubleshooting purposes. Only use Utility
mode at the request of a qualified Avid technician to diagnose
specific hardware problems.
1
In the Plug-In Racks Reset dialog, click Reset to begin the
plug-in rack re-initialization.
2
In the Plug-In Racks are Ready dialog, click Use Racks to confirm that you want the racks to be reset. Status is shown
on-screen. After the process is complete, the console and all
plug-ins are operational again.
To enter Utility mode:

Press and hold the User + Cancel + View 1 + View 2 switches
while powering on the S3 control surface.
Chapter 29: Troubleshooting 295
Using the System Restore Software
The System Restore USB Drive provided with your system lets
you update or restore your system software for maintenance and
troubleshooting.
Check your Avid account for the latest version of the System Restore software. Always make sure to use the latest
version of the System Restore software when restoring your
software.
7
Do one of the following to update or restore system software:
Update To update the system software while keeping any Show
files and Preset files on the system, press “u” (lower-case). When
the Update confirmation dialog appears, press Shift+U (upper-case) on your keyboard to proceed. Follow the on-screen instructions to begin installation.
– or –
Restore To fully restore the system (completely removing all
and leaves User Settings, Shows and Presets intact. Plug-Ins must
be reinstalled using plug-in installers located on your S3L system.
files on the system), press “r” (lower-case). Or, press “P” (upper-case) to return to the previous screen. When the Restore confirmation dialog appears, press Shift+R on your keyboard to proceed. Follow the on-screen instructions to complete the System
Restore operation.
System Restore A full system restore completely erases the sys-
When finished updating or restoring, the system restarts.
System Update A system update reinstalls the VENUE software
tem drive and reinstalls VENUE software on your system. It is
recommended to perform a full system restore once every two
years in order to ensure optimal system drive performance.
Plug-Ins must be reinstalled using the original installers.
All data folders and files are removed after a System Restore.
Be sure to transfer and archive needed data before performing a system restore. See “Transferring Settings, Shows and
Presets” on page 185.
The System Restore software and any plug-in installers
should be kept with the system at all times.
To start, update, or restore a system using the System
Restore software:
1
Make sure outputs, speakers, and power amps are muted.
2
Connect the keyboard and mouse directly to the E3 engine.
The keyboard and mouse must be connected to the E3 engine
when performing a system update or system restore.
8
Update and install plug-ins as necessary. See “Reinstalling
Plug-Ins” on page 296.
Before reinstalling plug-ins, check online for any updated
version s of your plug-ins. If an updated version of a plug-in
is available, download the installer and install it from a USB
drive.
9
If you are running the ECx Ethernet Control, you will also
have to reinstall the ECx software. See “Reinstalling ECx Host
Software” on page 306.
To cancel without changing any installed software:

Press E to exit from the Welcome to VENUE System Restore
screen. The system resumes starting up using the currently installed version.
If you cancel a full system restore or an update, you may experience installation errors about unavailable space. If this
occurs, repeat the system restore process, making sure to
complete it in one pass.
3
Insert the System Restore USB Drive into a USB port on the
E3 engine.
Reinstalling Plug-Ins
4
Shut down your system by going to the Options > System page
and choosing Shut Down.
Plug-ins must be reinstalled after an update or a restore, as follows:
5
Restart your system by pressing and holding F10 on the keyboard until the Restore/Update dialog appears.
System Update After a system update, any previously installed
Some models of USB keyboards require repeated pressing of
F10 (holding it down in between pressings) to register.
6
In the Restore/Update dialog, do one of the following to update or restore system software:
plug-ins can be reinstalled immediately using the installers located on the system.
System Restore After a full system restore, factory-installed
core plug-ins are reinstalled with the system software. Any other
previously installed plug-ins from Avid or its Development Partners must be installed from an external USB storage device using
the original installers.
See “Installing Plug-Ins” on page 162.
296
S3L System Guide
Updating Firmware
During an update or system restore, the system checks for new
firmware. If newer firmware is found in the System Restore software, it is installed during system startup (FPGA only) and after
system startup (all other devices).
Chapter 29: Troubleshooting 297
Part IX: Reference
Chapter 30: GPI Port Reference
GPI Port Specifications
A 9-pin, female DB9 connector provides a total of 2 General Purpose Interface (GPI) Inputs and 2 Outputs.
GPI Input Specifications
GPI Connector Pin Assignments
The GPI port is a female DB9 connector that provides two GPI
inputs and two GPI outputs. The following table shows the input
and output pin assignments on the GPI connector:
DB9 GPI Connector Pin Assignments
Pin Number
Function
Comments
• Inputs are logic inputs with pull-ups. They may be driven by
logic outputs or contact closure to ground.
1
Input 1
Logic level (TTL, CMOS) input
with pullup
• Input signal range is 0 to 5.5V. The inputs are ESD protected.
2
Input 2
Logic level (TTL, CMOS) input
with pullup
• Input signaling uses standard TTL logic levels: 0.8V or less for
a logic low. 2.0V or greater for a logic high.
3, 8
Output 1
Floating contact closure output
• Inputs are compatible with 5V TTL (e.g. 74LS series), 5V
CMOS (e.g. 74HC series), 3.3V CMOS (e.g. 74LVC series)
4, 9
Output 2
Floating contact closure output
5, 6, 7
Ground
All ground pins are connected
internally
The specifications for the GPI input are as follows:
• Inputs provide an internal 5K ohm pull-up to +5V.
• All Inputs are referenced to the same internal ground, which is
connected to AC safety ground.
GPI Output Specifications
The specifications for the GPI output are as follows:
Pinout for GPI Connector
5
4
3 2
1
• Outputs are isolated, floating relay contacts (contact closure).
• Switched voltage is 200V max; 0.5A max.
• Switched voltage with respect to safety/chassis ground is
300V max.
GPI Outputs can switch 500 mA maximum. This applies even
to short term current surges. This limit can be exceeded when
driving a capacitive or incandescent lamp load. An incandescent lamp may draw as much as ten times its steady state current when first turned on. Therefore such lamps are typically
not appropriate loads for the GPI Outputs, and should instead be controlled by a secondary relay.
9
8
7
6
Pinout for the GPI port (looking at back of the E3 engine)
GPI Output Ground Connections
The GPI Outputs provided are isolated contact-closure style.
Each GPI output is presented on a pair of pins. These two pins
represent the two sides of a switch that can be opened and closed.
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 controlled.
Chapter 30: GPI Port Reference 301
GPI Wiring Diagrams
The following diagrams provide examples of GPI pinout and wiring for a few common uses.
Wiring a Logic Signal to Drive GPI
Ground reference needed
between systems.
DB9M
All diagrams are shown from the rear (solder side) of the DB9
connector.
GPI Input Examples
1
The following diagrams provide simplified wiring examples for a
customer-provided DB9 male connector, to attach to the female
GPI connector on the E3 engine.
6
Wiring a Switch to Drive GPI
No ground reference needed
between systems.
DB9M
GPI Output Examples
The following diagrams depict wiring examples for a customer-provided DB9 male connector, to connect to the female
GPI connector on the E3 engine.
GPI Output Driving an Externally Powered LED
1
6
DB9M
Wiring a Relay to Drive GPI
DB9M
3
No ground reference needed
between systems.
8
1
6
302
S3L System Guide
+
–
External
Power
Supply
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
8
External
Power
Supply
Chapter 30: GPI Port Reference 303
Chapter 31: ECx Ethernet Control
Your system includes ECx Ethernet Control remote control host
and client software. ECx lets you control your system remotely
over an Ethernet network from a client computer or other mobile
device, using compatible wired or wireless network equipment.
ECx Host and Client Software
To use ECx Ethernet Control, you must do the following:
• Install the ECx host software on the E3 engine.
• Install ECx client software on your remote computer or mobile device.
ECx Capabilities and Features
ECx provides the following:
• Remote control of your system from a client computer, including laptops, tablets, smart phones, and other mobile devices that support VNC (Virtual Network Computing)
client software
• Exact duplication of VENUE software on the remote client
computer or device
Required Components for ECx
The following components are required to use ECx with your system:
• ECx Ethernet Control host and client software
• A Mac or Windows client computer with an Ethernet
(RJ-45) port, and/or with wireless networking capability
(purchased separately)
• A tablet or other mobile device with VNC client software
(purchased separately)
• For wireless communication with ECx, a router or wireless
access point (WAP) (purchased separately)
• Ethernet cable for connecting to your client computer, wireless router, or wireless access point device (purchased separately)
ECx host and client software installers are available in your Avid
account after you activate the S3L system software and plug-ins.
ECx Ethernet Control host and client software installers
are also available from the support tabs at www.avid.com.
If you need to uninstall the ECx host software from your VENUE
system, see “Uninstalling ECx Host Software” on page 306.
If you need to reinstall the ECx host software, (after a System Restore or an Update), see “Reinstalling ECx Host Software” on
page 306.
After you install the host and client software, see “Overview of
ECx Setup and Configuration” on page 307 for information on
setting up your VENUE system and client computer for remote
operation using ECx.
Installing ECx Host Software
ECx Ethernet Control host software is installed on your system
using a USB drive. This software enables your system to communicate with a computer running the remote client software. The
host software must be transferred to a USB drive in order to install it on your S3L system.
To install ECx host software on your S3L system:
1
Ensure there is enough free space on the USB drive to accommodate the software.
2
Do either of the following depending on where you are obtaining the software:
For wireless communications, 802.11g capable devices are
recommended.
• Download the ECx Ethernet Control Software from your
Avid account and extract the file to the desktop of your
computer.
– or –
• Locate and download the latest VENUE_ECx_x.x_USB.zip
file from the support tabs at www.avid.com, and extract the
file to your desktop.
3
Locate the ECx Ethernet Control Software folder and copy this
entire folder to the top (root) level of your USB drive.
Chapter 31: ECx Ethernet Control 305
4
Insert the USB drive containing the ECx host software into an
available USB port on the E3 engine.
5
Place the system into Config Mode.
6
In VENUE, go to the Options > System page and click Update.
7
Do one of the following:
• Click Install.
Uninstalling ECx Host Software
ECx host software can be uninstalled from VENUE.
To uninstall ECx host software from VENUE:
1
Insert the USB drive containing the ECx host software into an
available USB port on your or E3 engine.
2
Put your system into Config Mode.
3
Go to Options > System page and click Update.
4
Do one of the following:
– or –
• If more than one VENUE software installer is located on
the USB drive, click Next to select the ECx Ethernet Control Software installer and click Install.
8
• Click Install.
– or –
Click Update and follow the on-screen instructions.
• If more than one installer is located on the USB drive, click
Next to select the ECx Ethernet Control Software installer
and click Install.
The ECx host software is installed, and the software automatically restarts.
When your perform an Update or a System Restore of your
VENUE software, you must reinstall the ECx host software.
See “Reinstalling ECx Host Software” on page 306.
Installing the ECx Client Software
5
Select the ECx Ethernet Control software and click Install.
6
Click Uninstall.
The ECx host software is uninstalled, and the software automatically restarts.
After installing the host software on your S3L system, install the
ECx client software on the computer you want to use to control
your system remotely.
For instructions on installing and configuring VNC client
software for mobile devices, refer to the software’s instructions. For iPad, the iTeleport app is recommended
(www.itleleportmobile.com).
To install the ECx Control client applications:
1
2
3
If you haven’t done so already, download the ECx Ethernet
Control Software from your Avid account and extract the file
to the desktop of your computer.
If necessary, transfer the ECx software to the computer you
want to use for remote control of your system.
To install the client software on a Mac, do the following:
• Locate and open the Mac OSX Client folder.
• Double-click the cotvnc-20b4.dmg file to mount the file.
• Drag the Chicken of the VNC file to your Applications
folder.
4
To install the client software on Windows, do the following:
• Open the Windows Client folder.
• Double-click the UltraVNC-Viewer.exe file.
• Follow the on-screen installation instructions.
306
S3L System Guide
The ECx folder will remain on your VENUE system hard
drive after uninstalling,
Reinstalling ECx Host Software
ECx Ethernet Control must be reinstalled on your system after restoring or updating your system software. How ECx is reinstalled
depends on whether you update or restore your system.
After Updating Your System
If you have previously installed ECx software on your system,
ECx software can be reinstalled immediately after you update
your system.
To update ECx:
1
Put your system into Config Mode.
2
Go to the Options > System page and click Update.
3
Follow the instructions on-screen to complete the Update.
After Restoring Your System
If you perform a complete System Restore (or if you are updating
from VENUE software 3.x or higher), the ECx host software
must be reinstalled from the USB drive containing the ECx host
software installer. See “Installing ECx Host Software” on
page 305.
Overview of ECx Setup and
Configuration
You can control your S3L system (the “host”) with a remote computer (the “client”) using standard VNC (Virtual Network Computing) protocol over TCP/IP, allowing remote access to your
system via a wired or wireless Ethernet-based network. This
chapter covers the steps for configuring and using ECx.
For a wired network, the steps include:
Connecting the remote client computer directly to the E3 engine.
Connecting a Wireless Router or WAP
Standard wireless routers or WAP devices can be connected to
the ECx port on your E3 engine for wireless remote control of
your system.
Before connecting a wireless router or WAP device, you should
configure the SSID (network name) of the device so that its wireless network can be easily identified on the client computer. You
can specify any unique network name for the device, such as
“VENUE Network.”

 Setting the IP addresses of in VENUE and on your client computer manually.

To configure the SSID and any network security features of your
wireless router or WAP, refer to the manufacturer’s instructions.
For security reasons, you may be able to configure your
wireless router or WAP device to not broadcast its SSID
(creating a “hidden” network). Instructions for connecting
to such networks are contained in this chapter. But for instructions on how to configure a hidden network, refer to
the router or WAP device manufacturer’s instructions.
Enabling remote operation of your S3L system.
For a wireless network, the steps include:
Connecting a wireless router or a wireless access point (WAP)
device to the ECx port on your E3 engine.

Setting the IP addresses in VENUE and on your client computer automatically.

To connect a wireless router or WAP device:
1
Establishing a connection between your wireless router and
the client computer.


Connect a standard Ethernet cable to the ECx port on your
E3 engine.
Only use the port labeled ECx on the E3 engine for ECx
connections. Do not connect any networking equipment to
the ports labeled Network.
Enabling remote operation of your S3L system.
Connecting a Computer Directly
2
Connect the other end of the cable to the Ethernet port on the
router or WAP.
If you are establishing a fixed remote control station and do not
need a mobile connection, you can connect the remote computer
directly to the ECx port on your E3 engine.
3
Do one of the following:
To connect a computer directly:
1
Connect one end of a standard Ethernet cable type (with RJ-45
connectors) to the ECx port on the E3 engine, and the other end
to an Ethernet port on the computer.
Only use the port labeled ECx on the E3 engine for ECx
connections.
2
Configure S3L system and the client computer IP addresses
manually. See “Setting VENUE and Client IP Addresses Manually” on page 308.
• If you are using a wireless router or WAP device that does
not include a DHCP server function (such as the Cisco Aironet 1230AG), you must configure your VENUE system
and the client computer IP addresses manually. See “Setting
VENUE and Client IP Addresses Manually” on page 308.
– or –
• If you are using a wireless router that includes a DHCP
server function (such as the Belkin N-series routers), you
can configure your VENUE system and the client computer
to set the IP addresses automatically. See “Setting IP Addresses Automatically” on page 310.
Chapter 31: ECx Ethernet Control 307
Setting IP Addresses
Do one of the following to set the IP addresses in VENUE and on
your client computer, depending on the configuration of your network:
If you are connecting a computer directly, or you are using a
wireless router or WAP device that does not include a DHCP
server function, see “Setting VENUE and Client IP Addresses
Manually” on page 308.

– or –
If you are using a wireless router that includes a DHCP server
function, see “Setting IP Addresses Automatically” on page 310.
Setting VENUE and Client IP Addresses
Manually
Set the IP addresses in VENUE and the client computer manually
if you are connecting a computer directly to your Avid live system, or if you are using a wireless router or WAP device that does
not include a DHCP server function.
Setting the VENUE IP Address Manually
1 To manually set the IP address in VENUE:
1
In VENUE, go to the Options page and click the Interaction
page.
2
Under Ethernet Control, click Network Settings.

IP configuration changes on your VENUE system and client
computer can take up to 2 minutes to become effective. After
making changes, be sure to allow sufficient time for the system to assign IP addresses and establish communication between all the components.
If network communication is not established after allowing
sufficient time for IP addressing, verify that you are using the
correct cable types, have correctly connected the system, and
have working cables.
Ethernet Control section of the Interaction tab
3
Select Use the Following Address and enter the following:
• IP address: 10.0.0.1
• Subnet Mask: 255.255.255.0
• Default Gateway: 10.0.0.1
Setting an IP address manually
308
S3L System Guide
4
Click Apply.
5
Select Enable Remote Control to activate the VENUE ECx
host.
6
Go to “Setting the Mac Client IP Address Manually” on
page 309.
Setting the Mac Client IP Address Manually
Setting the Windows Client IP Address Manually
After manually setting the IP address in VENUE, you need to set
the IP address of your Mac client computer.
After manually setting the IP address in VENUE, you need to set
the IP address of your Windows client computer.
To manually set the IP address on a Mac:
To manually set the IP address on Windows:
1
Under the Apple menu, choose System Preferences, then
choose Network from the System Preferences window.
1
Do one of the following:
2
• For wired connections, choose Ethernet from the network
connections services list.
In the Control Panel search box, type “network” and choose
Network and Sharing Center.
3
In the left pane of the Network and Sharing Center window,
click Change adapter settings.
4
Do one of the following:
2
Panel.
– or –
• For wireless connections, choose Airport from the network
connections services list.
3
Choose Manually from the Configure menu.
4
Enter the following:
• For wired connections, right-click Local Area Connection
and choose Properties.
– or –
• For wireless connections, right-click Wireless Network
Connections and choose Properties.
• IP address: 10.0.0.2
• Subnet Mask: 255.255.255.0
• Router: (none required)
In the Start menu, click the Start button and choose Control
5
In the Connection Properties window, double-click Internet
Protocol Version 4 (TCP/IPv4).
Network Preferences window
5
Click Apply.
6
Do one of the following depending on the configuration of
your network:
Local Area Connection Properties window
• If you are using a wireless network, go to “Establishing a
Wireless Connection” on page 312.
– or –
• If you are using a wired network, go to “Enabling Remote
Operation” on page 314.
Chapter 31: ECx Ethernet Control 309
6
In the Internet Protocol Properties window, select “Use the following IP Address” and enter the following:
• IP address: 10.0.0.2
• Subnet Mask: 255.255.255.0
• Default Gateway: (none required)
Setting IP Addresses Automatically
If you are using a router that includes a DHCP server function, set
the IP addresses in VENUE and the client computer automatically using DHCP
Setting the VENUE IP Address Automatically
To set the IP address in VENUE automatically:
1
In VENUE, go to the Options page and click the Interaction
tab.
2
Under Ethernet Control, click Network Settings.
3
Select Obtain Address Automatically.
Configuring Ethernet Control in VENUE
Internet Protocol Properties window
7
Click OK to close the Internet Protocol properties window.
8
Click OK to close the Network Connection Properties window.
9
Do one of the following depending on the configuration of
your network:
• If you are using a wireless network, go to “Establishing a
Wireless Connection” on page 312.
4
Click Apply.
5
Wait until the VENUE System is assigned an IP address. This
may take time (up to two minutes). If no DHCP server is
found, the VENUE system will self-assign an IP address.
Make a note of the IP address assigned to your VENUE system, as you will need to enter it into the client software.
6
Select Enable Remote Control to activate the VENUE System
ECx host. Your system’s status will be displayed as “Waiting
for connection.”
7
Go to “Setting the Windows Client IP Address Automatically”
on page 311.
– or –
• If you are using a wired network, go to “Enabling Remote
Operation” on page 314.
310
S3L System Guide
Setting the Mac Client IP Address Automatically
After setting the IP address in VENUE using DHCP, you need to
do the same for your Mac client computer.
Setting the Windows Client IP Address
Automatically
After setting the IP address in VENUE using DHCP, you need to
do the same for your Windows client computer.
To automatically set the IP address on a Mac:
1
2
Under the Apple menu, choose System Preferences and
choose Network from the System Preferences window.
To automatically set the IP address on Windows:
1
Panel.
For wireless connections, do the following:
• Choose Airport from the network connections services list.
2
In the search box, type “network” and choose Network and
Sharing Center.
3
In the left pane of the Network and Sharing Center window,
click Change adapter settings.
4
Do one of the following:
• Click the Advanced button, then click the TCP/IP tab.
• Choose Using DHCP from the Configure IPv4 menu.
• Click OK.
• Proceed to “Establishing a Wireless Connection on a Mac
Client” on page 312.
In the Start menu, click the Start button and choose Control
• For wireless connections, right-click Wireless Network
Connections and choose Properties.
– or –
• For wired connections, right-click Local Area Connection
and choose Properties.
5
In the Connection Properties window, double-click Internet
Protocol Version 4 (TCP/IPv4).
Airport Network Advanced window
3
For wired connections, do of the following:
• Choose Ethernet from the network connections services
list.
• Choose Using DHCP from the Configure IPv4 menu.
• Click OK.
• Proceed to “Enabling Remote Operation” on page 314.
Local Area Connection Properties window
Chapter 31: ECx Ethernet Control 311
6
In the Internet Protocol Properties window, select “Obtain an
Address Automatically.”
Establishing a Wireless Connection
Once IP addresses are set, you can establish a connection from
the client computer to the wireless network. These instructions
show how to establish wireless connections to routers or WAPs.
Establishing a Wireless Connection on a
Mac Client
To establish a wireless connection on a Mac:
1
Under the Apple menu, choose System Preferences and
choose Network from the System Preferences window.
2
Choose Airport from the network connections services list.
3
If you have chosen to broadcast the SSID of your router or
WAP, do the following:
• From the Network Name pop-up menu, choose your network.
• Enter a valid password when prompted and click OK.
Internet Protocol (TCP/IP) Properties window
7
Click OK to close the Internet Protocol properties window.
8
Click OK to close the Network Connection Properties window.
9
Do one of the following:
• For wireless connections, proceed to “Establishing a Wireleless Connection on a Windows Client” on page 313.
– or –
• For wired connections, proceed to “Enabling Remote Operation” on page 314.
Configuring a wireless connection on the Mac
4
If you have chosen to not broadcast the SSID of your router or
WAP, do the following:
• In the Network Name pop-up menu, choose Join Other Network.
• In the Network Name field, type in the SSID of your network,
• Choose the network security type used by the router or
WAP from the Security pop-up menu.
• Enter the network password, and click Join.
To configure the security features on your wireless router or
WAP device, see your device’s documentation.
5
312
S3L System Guide
Go to “Enabling Remote Operation” on page 314.
Establishing a Wireleless Connection on a
Windows Client
5
In the Network name field, enter the SSID of the wireless
router or WAP device connected to VENUE ECx.
To connect to a network that is broadcasting its SSID on
Windows:
1
Open the Connect to a Network window by clicking the network icon in the notification area.
2
In the list of available networks, choose your network and
click Connect.
3
Go to “Enabling Remote Operation” on page 314.
To connect to a network that is not broadcasting its SSID on
Windows:
1
In the Start menu, click the Start button and choose Control
Panel.
Manual wireless connection options
2
In the search box, type “network” and choose Network and
Sharing Center.
6
Choose the Security type and the Encryption type from the
pop-up menus for the router or WAP device, and enter the Security key (password).
3
Click Set up a new connection or network.
7
Click Next. The SSID for the router connected to VENUE ECx
should appear in the list of available wireless networks.
8
In the list of available wireless networks in the notification
area, choose your network and click Connect.
To configure the security features on your wireless router or
WAP device, see your device’s documentation.
9
Go to “Enabling Remote Operation” on page 314.
Choose “Set up a new connection or network”
4
Choose Manually connect to a wireless network and click Next.
Choose “Manually connect to a wireless network”
Chapter 31: ECx Ethernet Control 313
Enabling Remote Operation
4
Enter the password when prompted (the default VENUE password is “password”) and click Connect.
In order to enable remote operation of your S3L system, you need
to have obtained valid IP addresses in VENUE and on your client
computer. If you are using a wireless network, you also need to
have established a network connection between the wireless
router or WAP device that is connected to the E3 engine and your
client computer or mobile device.
If you have a trouble connecting using a router, try connecting the computer directly to the E3 engine. If you can
connect, reset your router to its default settings and reconnect using the router.
Enabling Remote Operation on a Mac
Client
To enable remote operation on Mac:
1
Double-click the “Chicken of the VNC” icon to launch the application.
2
In the Host field, enter the IP address of the your Avid live system as it appears in the Ethernet Control section of the Options
> Interaction page.
3
Enter the password (the default password for VENUE is “password”) and click Connect.
UltraVNC Viewer window
The client launches and displays the VENUE software screen.
You can then view and operate all on-screen controls from the client computer.
Disconnecting ECx
To disconnect ECx:
1
Close the ECx client application by doing one of the following:
• On Mac, press Command+Q to quit.
– or –
• In Windows, move the pointer to the top of the screen until
the control strip appears, and click the close box.
2
Chicken of the VNC window
The client launches and displays the VENUE system screen. You
can then view and operate all on-screen controls from the client
computer.
Enabling Remote Operation on a Windows
Client
Changing the Ethernet Control
Password
You can change the password that users need to enter in order to
control your S3L system from a remote client.
To enable remote operation on Windows:
1
2
3
314
On the VENUE system, de-select Enable in the Ethernet Control section of the Options > Interaction page.
By default, the VENUE Ethernet Control password is
“password” (all lowercase).
Double-click the “ECx Ethernet Control (UltraVNC Viewer)”
icon on your desktop (or go to Start Menu > Programs > UltraVNC > Run UltraVNC Viewer) to launch the UltraVNC
Viewer application.
To change the Ethernet Control password:
1
In the VNC Server field, enter the IP address of the your Avid
live system as it appears in the Ethernet Control section of the
Options > Interaction page.
In the Ethernet Control section of the Options > Interaction
page, double-click the Password field.
2
Enter a new password and press Enter.
Click Connect.
S3L System Guide
Make a note of the new password and your system’s IP address, as you will need to enter it into the client software.
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 engine at all times, safe from damage or loss.
To access the port, the top panel of the E3 engine must be removed. Only install the iLok after you have transferred plug-in licenses to
your iLok. See “Installing and Authorizing Plug-Ins” on page 161 for more information.
To access the secure USB port on the E3 engine:
1
Power down and disconnect all cables from the E3 engine.
2
Remove the 12 screws that secure the top panel of the E3 engine.
E3 engine Top Panel
3
Set the panel and screws aside.
Appendix A: E3 Engine Secure USB Port 315
4
Inside the E3 engine, locate the secure USB port and insert the iLok.
iLo
k
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.
316
S3L System Guide
Appendix B: Compliance
Environmental Compliance
Disposal of Waste Equipment by Users in the
European Union
This symbol on the product or its packaging indicates that this product must not
be disposed of with other waste. Instead, it is your responsibility to dispose of
your waste equipment by handing it over to a designated collection point for the
recycling of waste electrical and electronic equipment. The separate collection
and recycling of your waste equipment at the time of disposal will help conserve
natural resources and ensure that it is recycled in a manner that protects human
health and the environment. For more information about where you can drop off
your waste equipment for recycling, please contact your local city recycling
office or the dealer from whom you purchased the product.
Proposition 65 Warning
This product contains chemicals, including lead, known to
the State of California to cause cancer and birth defects or
other reproductive harm. Wash hands after handling.
FCC Compliance for United States
Radio and Television Interference
Communication Statement
NOTE: This equipment has been tested and found to
comply with the limits for a Class B digital device, pursuant
to Part 15 of the FCC Rules. These limits are designed to
provide reasonable protection against harmful interference
in a residential installation. This equipment generates, uses,
and can radiate radio frequency energy and, if not installed
and used in accordance with the instructions, may cause
harmful interference to radio communications. However,
there is no guarantee that interference will not occur in a
particular installation. If this equipment does cause harmful
interference to radio or television reception, which can be
determined by turning the equipment off and on, the user is
encouraged to try and correct the interference by one or
more of the following measures:
• Reorient or locate the receiving antenna.
• Increase the separation between the equipment and
receiver.
• Connect the equipment into an outlet on a circuit
different from that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV
technician for help.
Any modifications to the unit, unless expressly approved by
Avid, could void the user's authority to operate the
equipment.
Australian Compliance
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/hazardouswaste/perchlorate.”
Recycling Notice
Canadian Compliance
This Class B digital apparatus meets all requirements of the Canadian
Interference-Causing Equipment Regulations.
Cet appareil numérique de la classe B respecte toutes les exigences du
Règlement sur le material brouilleur du Canada.
CE Compliance
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
• AS/NZS CISPR 22 Class B
• CISPR 22 Class B
(EMC and Safety)
Avid is authorized to apply the CE (Conformité Europénne) mark on this
compliant equipment thereby declaring conformity to EMC Directive
2004/108/EC and Low Voltage Directive 2006/95/EC.
317
Korean EMC Regulations
For Avid S3 Control Surface and Avid Stage 16
For Avid E3 Engine
318
S3L System Guide
Index
Numerics
0 dBVU 176
48V 79
A
A Unit has gone Offline 295
Absolute (editing snapshots) 201
Actions 216
creating 221
list 228
Add (or Update) this plug-in to Snapshot 175
AFL 129
All (snapshots) 191
AND (Event List) 219
Assignable Pro Tools I/O 261
attack
compressor/limiter 143
expander/gate 144
automation
and Channel Safe 195
see Snapshots
Automation Safe 65
auto-save and History 186
Aux
configuring busses and Groups 88
Aux monitoring options
AFL Follows Auxes 130
Aux Sends
snapshot as monitor, or as effects sends 211
B
backup
and History 186
software 296
Balance 73
balance (when pasting) 48
bandwidth
EQ 152
banking 43
banner display 40
bell or shelf EQ 152
Blank Strip 48
blue (snapshot) 188
bus processors
assigning plug-ins 171
busses
linked matrix 114
Busses page 60
bypass
EQ in out 152
bypassing plug-ins 169
C
Cabling requirements 5
Cancel 33
Cancel switch 33
Center Last Recalled Snapshot 189
channel
reset shortcut 47
Channel Control
overview 34
User assignment 54
using 52
Channel display navigation 32
Channel Name 65
channel number (plug-in rack routing) 169
CHANNEL SAFE 196
Channel Safe 195
channels
banking 43
copy and paste 47
in the Patchbay 123
moving 48, 73
selecting 44
Chase MTC 188
Clear 189
Clear Console
during reset 60
clip
Hold 64, 65
Margin 64
colors in rack slots 168
comp knee
compressor/limiter 143
compatibility 5, 255
compressor/limiter
attack 143
comp knee 143
Dynamics Graph 146
make-up gain 143
ratio 143
release 143
threshold 143
Config Mode 17
and plug-ins 161
Console Config 17
Console Mode (Config versus Show) 17
contact closure 301
controls
input and FX return channels 30
copy and paste
channel settings 47
dynamics settings 147
EQ settings 157
copying
plug-ins 170
Create new snapshot containing this plug-in 175
crossfade time (snapshots) 210
crossfades
bypassing 210
cursor 63
Index 319
D
Date & Time Check 293
dBVU, dBu, dBFS 176
Default 39
delay
compensation 95
input channel built-in 103, 112
mains (house) 94, 103, 112
Monitor bus 134
delay (Event List Wait) 222
Delay Compensation 61
Delete (snapshots) 189
Devices page 66
Digital/Analog EQ 152
Direct Outs
routing to plug-ins 172
Disable
snapshots 189
divergence 61, 94
Dly (channel Delay in snapshots) 212
DSP
plug-ins 176
Duplicate 189
Dynamics
ranges of controls 150
dynamics
and plug-ins 145
Dynamics Graph 146
presets for built-in 147
reset 146
settings and presets 147
E
E3 engine
connections and switches 22
features 2
mechanical specifications 275, 276
power connections 12
powering on 16
ECx 305
Edit (System Config) 57
Edit mode 201
EQ
adjusting 153
and plug-ins 156
bell or shelf 152
built-in HPF 151
built-in parametric 151
bypass via Input Direct mode 146, 157
digital/analog 152
GEQ 92
in out 152
ranges of controls 159
settings and presets 157
Events
actions 216
and Preview mode 205
and Snapshot modes 223
and snapshots 223
behavior 221
controlling Pro Tools 268
controlling USB record/playback 253
creating actions 221
creating triggers 138, 219, 254, 268, 269
creating, selecting, managing 138, 217
320
S3L System Guide
enabling and disabling 218
Event List 214
list of action types and properties 228
list of trigger types and properties 227
reset 222
terminology 213
testing 222
triggers 215
Wait 222
window 214
Expander/Gate
threshold 144
expander/gate
attack 144
gate range 144
release 144
F
Fader bank switches A-F 32
Fader banking
Nudge and Bank left/right switches 33
switches A-F 32
faders
reset shortcut 47
feedback 223, 262
Filing
History 186
loading Shows 182
Presets and Scope Sets 183
Show files 182
Show Folders 181
Fine 39
momentary or latching 39
firmware 297
Follows Channel Pan Aux/ Variable Group send option 105
Footswitch 21
formats (plug-ins) 170
FX Returns
and plug-ins 172
banking 43
channel controls 30
G
gain
and multiple input routing 75
gate
key source 148
range for expander/gate 144
General Purpose Interface (see GPI)
Global Control encoders
adjusting Groups using 102
adjusting Mains using 93
adjusting plug-ins (Insert Mode) 174
overview 36
GPI
Input pinouts 301
input specifications 301
pulse and duration 221
wiring diagrams 302
Graphic EQs 92
green (snapshot) 188
ground (GPI outputs) 301
Groups
and Variable Groups 88
H
L
hard knee 143
hardware
display of unavailable 122
headphones
level 134
hexadecimal 207
high-pass filter 151
History 186
house (Mains)
mute 94
volume 93
HPF 80
Latch (Event action behavior) 221
levels
plug-ins 176
linked Matrixes 114
linking
screen and console 40
listen wedge 133
Live Sound Production Toolkit 257
locking snapshots 199
logic (GPI) 301
I
I/O
unavailable 122
iLok 164
USB ports 165
In/Out
EQ 152
Input Direct mode 83, 146, 157
Input mode 263
Input Safe Switches
changing modes via an Event 224
inputs
20 dB pad 78
assigning Patchbay routing 74
assigning to VCAs 77
channel controls 30
HPF 80
input channels and FX returns 30
Input Direct mode 83, 146, 157
make stereo 73
mute 80
naming 72
pan 79
phantom power 79
polarity (phase) 80
routing to Auxes 76
routing to Mains and Groups 76
Safe 80
solo 80
width 79
Insert Blank Strip 48
Insert Mode (Global Control encoders) 174
insert number (plug-in rack routing) 169
inserts
assigning plug-ins 171
Installed Plug-Ins 162
Interaction page 64
invert group output phase 103, 112
J
jump (see crossfade bypass)
K
key assign 148
key listen 149
key source 148
knee
hard or soft 143
M
main volume 93
Mains
configuring 88
configuring Main busses 88
input routing 76
mute 94
output level control 93
selecting 45
maintenance
system restore 296
Make Stereo 73
and Blank Strips 48
Make Stereo/Mono
shortcut 48
make-up gain
compressor/limiter 143
Matrix
linked stereo 114
linking and unlinking inputs 115
Media page
selecting tracks in the Playlist
Playlist
selecting tracks 245
metering
ballistics for meters 64
console level meter 31
meter options 64
MIDI
adding to snapshots 206
and Recall Safe 194
in Preview mode 205
MIDI Snapshot Output Safe 195
output Safe 207
Misc page 63
Mix (Recall Safe parameters) 197
modes (Config versus Show) 17
Mon (Aux sends and Variable Groups) 211
Monitor
assignable output 133
Delay 134
level 134
monitor mixing 75
mouse settings 63
move input channels
Move Selected Strip Here right-click command 48
using drag and drop 73
moving plug-ins 170
MTC
chase 188
configuring options 62
Events and Preview mode 205
in Preview mode 205
Index 321
Multi-Assign 46
Multi-Select 46
Mute
channels, Mute Groups and VCAs 139
Groups 137
input channels 80
outputs 137
N
naming channels 72
navigating 43
near-field levels 134
Network ports
E3 engine 22
S3 control surfaces 21
Sig and Act LEDs 277
Stage 16 24
New 189
None (snapshots) 191
Notes (snapshots) 192
O
offset
Right Offset 78
OK and Cancel switches 33
On (Recall Safe) 194
One or More Units have Failed 293
operating modes 17
Options 57
Busses 60
Devices 66
Interaction 64
Misc 63
Pickoffs 61
Plug-Ins 162
Snapshots 62
options 64
OR (Event List) 219
oscillator
settings 63
Other 170
outputs
and mute 137
configuring 87
delay 94, 103, 112
divergence 61, 94
graphic EQ 92
reassigning in Patchbay 126
routing 89
P
pad 78
padlock (snapshots) 199
Page switches 32
Pan 79
see also Width 79
pan
divergence 61, 94
when pasting 48
parameters 119
322
S3L System Guide
Patchbay
displays and indicators 122
navigating 123
overview 121
source and destination display 123
warning when reassigning 126
Patching Grid 122
Peak mode (metering) 64
PFL 129
phantom power 79
phase (group output) 103, 112
Pickoffs page 61
Plug-In Racks are Ready 295
Plug-In Racks Need Reset 295
plug-ins 161
and channel Direct Outs 172
and Recall Safe 194
and snapshots 175
and standalone software 237
assigning to rack slots 170
Config and Show mode 161
display unavailable and inactive 168
enabling and disabling 164
EQ 156
in Preview mode 204
in/out (bypass) 169
list and menu management 164
managing 163
mono, stereo, other 170
moving and copying 170
pinning a view 167
preset files 175
rack slots 168, 169
racks 166
re-initializing the racks 295
routing to and from 171
snapshot indication (red) 168
targeting 174
Use Racks 295
views 166
Plug-ins to Install 162
polarity (group output) 103, 112
polarity (input) 80
power
start up/shut down guidelines 16
PQ
linking and unlinking inputs 115
Pre (snapshot parameters) 211
presets
dynamics 147
EQ 157
folders 183
for built-in dynamics 147
managing 184
plug-ins 175
Scope Sets 197
transferring 185
Preview mode 202
and plug-ins 204
and Undo 203
capabilities and overview 203
MIDI and MTC 205
Pro Tools
assignable I/O 261
connecting 258
Input mode 263
installing 257
Live Sound Production Toolkit 257
using events to control Pro Tools 268
Virtual Soundcheck 259
Propagate mode 202
Pulse and Duration (GPI) 221
Push-Pin (plug-in view) 167
Q
Q 152
Quit 16
R
rack slots 166
racks 295
racks (plug-ins) 166
ratio
compressor/limiter 143
Recall 189, 193
Next 188
Previous 188
Recall Safe
and MIDI 194
and plug-ins 194
and Preview mode 204
CHANNEL SAFE 196
Matrix and PQ 197
turning on and off 194
using 196
red (snapshot) 188
red plug-in rack 168
registration 5
Relative (editing snapshots) 201
release
compressor/limiter 143
expander/gate 144
Remove this plug-in in Snapshot 175
Reset 295
reset
dynamics 146
Reset (strip) 47
reset a section or parameter 39
Reset Fader 47
resolution (see Fine)
Restoring the system software 296
right-click shortcuts 47
RMS mode (metering) 64
routing
Monitor bus 133
multiple channels to a hardware output 125
S
S3 control surface
banking and selecting channels 43
connections and switches 21
features 2
overview 29
power connections 12
Safe
Automation 65
Solo 65
save (History auto-save) 186
Scope Sets
transferring 185
using 197
selecting channels 44
selecting multiple channels 46
selecting outputs 45
settings
dynamics 147
EQ 157
plug-ins 175
shelf or bell EQ 152
shortcuts
right-click 47
Snapshots 188
Show files 181
creating 181
deleting 181
Folders 181
loading 182
transferring 185
Show Folder 181
Show Mode 17
Shows
and plug-in management while loading 164
shut down 16
side-chain
assigning for plug-ins 173
assigning source (gate only) 148
signal routing
display in Patchbay 123
inputs 74
SIP 129
Snapshots
adding MIDI messages 206
adding plug-in data 207
All 191
and Channel Safe 195
Center Last Recalled in list 189
Channel Safe 196
channel scope 190
chase MTC 188
classifying Auxes and Var Groups 211
Clear 189
color indication in List 188
creating 192
crossfade time 210
data type buttons 190
Delete 189
Disable 189
Duplicate 189
Edit mode 201
Events and Preview mode 205
faders 190
in Preview mode 203
Index 323
keyboard shortcuts 188
List 188
list of data types and parameters 197, 212
locking and unlocking 199
managing (storing, clearing, deleting, moving, duplicating)
198
MIDI and plug-ins in Preview mode 203
naming and renaming 192
New 189
None 191
notes 192
overview 187
plug-in menu 175
plug-in scope indication 168
Preview (editing and previewing snapshots) 202
Propagate mode (updating snapshot parameters) 202
Recall 189
recalling 193
safe filter (Recall Safe) 196
Scope Sets 197
selecting 189
Store 189
target 193
USB record/playback Transport control 252
x-Fade 210
Snapshots containing this plug-in 175
Snapshots page 62
soft knee 143
software
overview of pages and tabs 41
standalone 237
system restore 296
Solo 130
AFL, PFL, SIP modes 129
and key listen 149, 249, 251
input channels 80
on-screen settings 61
Solo and monitor options
configuring 130
Solo Safe 65
Source switch 32
Stage 16
adding to configuration 20
connecting multiple box systems 15
connecting power 12
connecting single box systems 14
connections, switches, and indicators 24
features 3
front panel LED codes 277
Identify and Mute switches 66
rack ear/handles 10
reassigning 20
removing from configuration 20
standalone software 237
and plug-ins 237
export System Info 59
installing and removing 237
system requirements 237
stereo
spread (Bal/Width) 73
stereo channels (see Make Stereo) 73
stereo plug-ins 170
Store 189
System Config 57
system requirements 5, 255
324
S3L System Guide
System Restore Software 296
System Test 60
T
Tap Tempo 230
target
channels 44
plug-in 174
targeting outputs 45
tempo
adding to snapshots 209
threshold
compressor/limiter 143
Expander/Gate 144
Tool Tips 40
Touch Strip 38
Trackball
settings for 63
transfer 185
Transport control
Pro Tools 268
Triggers 215
creating 138, 219, 254, 268, 269
list 227
Troubleshooting
Restoring the system software 296
troubleshooting
plug-ins 164
U
Undo
in Preview mode 203
via History 186
Update this plug-in in Snapshot 175
USB
ports for iLoks 165
USB record/playback
playing back tracks 249
recording 247
selecting items 245
Transport control using events 253
Transport controls 246
using snapshots for Transport control 252
Use Racks 295
User bank switches 32
Utility mode 295
V
Variable Groups
snapshot as monitor, or as effects sends 211
VCAs
and snapshots 212
assigning 97
mute 137
VENUE
Standalone software 237
VENUE Link
using 265
View Mode
switches 37
Virtual Soundcheck 259
W
Wait (Event List) 222
Warning Dialogs 293
While Active (Event action behavior) 221
Width 79
width (when pasting) 48
Word Clock I/O 22
X
X-fade (crossfade) 210
XOR (Event List) 219
Y
yellow (snapshot) 188
Index 325
Avid
Technical Support (USA)
Product Information
2001 Junipero Serra Boulevard
Daly City, CA 94014-3886 USA
Visit the Online Support Center at
www.avid.com/support
For company and product information,
visit us on the web at www.avid.com
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