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Avid VENUE | S6L Waves SoundGrid Integration Video Series

Join award-winning live sound veteran and Avid senior market specialist Robert Scovill in this 6-part series as he takes you through using the Avid VENUE | S6L live system with Waves SoundGrid servers. The collaboration between Avid and Waves provides unrivaled integration, enabling you to interact with Waves plug-ins using the controls on the S6L surface and the VENUE software interface.

Avid’s WSG-HD (Waves SoundGrid High Density) Option Card integrates directly with VENUE 5.7 or later software, and presents Waves plug-ins in the same VENUE Plug-in Rack as your other plug-ins, with full Snapshot automation and ADC support—without needing an additional network switch or external computer. The WSG-HD card provides even offers full redundancy and automatic failover when using two Waves SoundGrid servers.

1. Introduction

2. Basic Operation

3. File Structure & Preset Libraries

4. Snapshots

5. Monitoring & Managing Latency

6. Importing Legacy Show Files

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.




Avid VENUE | S6L Real Time Workflows

Join award-winning live sound veteran and Avid Senior Specialist Robert Scovill as he shares a wide range of his key Avid VENUE | S6L workflows from the Tom Petty and The Heartbreakers 40th Anniversary Tour.

Intro

FOH System Showcase

Importing Legacy VENUE Show Files

Build A Custom Channel Strip

Channel Knob Module Tour

Custom Color Schemes Part 1

Custom Color Schemes Part 2

Using Bank Safes

Using History Files

QWERTY Navigation

Moving Plug-ins with Events

Main and Spare Mic Events

Using VNC Remote Access

Discover VENUE | S6L

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.




VENUE | S6L Workflows Video Series

Discover the powerful and intuitive workflows of the Avid VENUE | S6L live sound system. Join veteran live sound engineer and Avid senior market specialist Robert Scovill for this in-depth video series as he takes you through all the key control surface workflows of the VENUE | S6L live sound system. You can also download the latest VENUE Standalone Software free of charge to further explore S6L’s architecture and workflows.

Be sure to check back often, as Robert will be adding new videos regularly.

S6L | Banking

S6L | Input Processing Channels

S6L | Programming the User Defined Channel

S6L | Channel Menus

S6L | LRC/M Assignment

S6L | Audio Sub Group Assignment

S6L | VCA Assignment

S6L | Monitor Bus A-B Assignment

S6L | Mute Group Assignment

S6L | Output Processing Channels

S6L | Spill Functionality

S6L | Tour the Universe View

VENUE | S6L Now Available

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.

LEARN MORE




Video Blog Series: Robert Scovill on Tour with Mudcrutch and S6L

 

Join live sound veteran and Avid® senior market specialist Robert Scovill for this special video blog series as he takes you behind the scenes to explore the inner workings of Tom Petty’s recent 21-date Mudcrutch tour. Robert shares everything from show logistics and mixing on the new S6L system to discussing the challenges presented by each venue and even how the crew spend their days off between shows. Click the videos below to hit the road with Robert and Mudcrutch.

May 26: Ogden Theater, Denver, CO

May 27: Chicago travel day

May 28: Riviera Theater, Chicago, IL

May 29: Summer Camp Festival, Chillicothe, IL

May 30: Day off in Nashville

May 31: Ryman Auditorium, Nashville, TN

June 1: Atlanta day off

June 2: The Tabernacle, Atlanta, GA

June 3: Bunbury Festival, Cincinnati, OH

June 4-5: Days off in Washington, D.C.

June 6: 9:30 Club, Washington, D.C.

June 7: The Fillmore Philly, Philadelphia, PA

June 10: Webster Hall, New York City, NY

June 11: Webster Hall, New York City, NY

June 14: Capitol Theatre, Port Chester, NY

June 15: House of Blues, Boston, MA

June 19-20: The Fillmore, San Francisco, CA

June 22: Fox Theater, Oakland, CA

June 25-26: Fonda Theatre, Hollywood, CA

June 28: The Observatory, Santa Ana, CA

June 30: Humphreys, San Diego, CA

VENUE | S6L Now Available

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.

LEARN MORE




Music: Join Award-Winning FOH Engineer Robert Scovill for a Tom Petty & The Heartbreakers Sound Check

Music: Join Award-Winning FOH Engineer Robert Scovill for a Date on the Tom Petty & The Heartbreakers Tour

As many of you know who have followed my writings and events over the years, I have a great passion for audio education. This passion has driven much of my motivation in pulling sound check events together over the years on previous Tom Petty tours.

These sound check events are a golden opportunity for you to get an insider’s glimpse at just how these cutting edge technologies and features are actually being deployed on a daily basis at every stop of the tour.

Music: Join Award-Winning FOH Engineer Robert Scovill for a Date on the Tom Petty & The Heartbreakers Tour

“The first 14 years of the 21st century have been one of significant transition for the touring audio professional.”

Music: Join Award-Winning FOH Engineer Robert Scovill for a Date on the Tom Petty & The Heartbreakers Tour

So, maybe you’re asking “okay, what makes concert sound in the 21st century any different from concert sound in the 20th century?” Well, if you’re on the inside of the touring industry, and your passions lay in audio, then you’d willingly concede that the first 14 years of the 21st century have been one of significant transition for the touring audio professional and it’s not just technology that is evolving, it’s the daily workflow that has changed and the skills required to use it as much as anything.

It’s a daily workflow where concert sound mixers leverage cutting edge digital mixing and recording technology to the fullest extend. A world where pre-recorded audio of the artist is used to optimize the blends and tonality of the mixes delivered to the PA system and in turn the seating area without need for the artist to be present in order to facilitate a traditional “sound check” in an effort to ensure the best results for the audience.

“It’s a brave new world where “self aware” speaker systems can actually “know” what kind of room they are in and adjust their coverage accordingly.”

Music: Join Award-Winning FOH Engineer Robert Scovill for a Date on the Tom Petty & The Heartbreakers Tour

It’s a daily workflow and routine where PA configurations and speaker stack plans once scribbled on a napkin from catering by a “roadie” have been replaced by specialist deploying surveying tools and highly sophisticated computer software to make 3D drawings of a room and seating geometry on site, and then optimizing the number of speakers and their placement in the venue before a speaker ever even rolls off of the truck. It’s a brave new world where “self aware” speaker systems can actually “know” what kind of room they are in and adjust their coverage accordingly.

So, are things different in the 21st century? You bet they are, and you know what? All of those differences are on full display at the Avid sponsored sound check events led by yours truly on the current Tom Petty and The Heartbreakers Tour of North America.

In a day and age, when we are constantly bombarded by the marketing of product features and capabilities, it’s often easy to dismiss many of them while saying “yeah, but who actually uses any of that?”

“I encourage you to sign up, come in, and get a glimpse of what we have to offer.”

Music: Join Award-Winning FOH Engineer Robert Scovill for a Date on the Tom Petty & The Heartbreakers Tour

I think you’ll be surprised at just how much goes in to “doing sound for a rock band” these days. Learn more about the Tom Petty tour at www.tompetty.com/tour.

See you soon!

VENUE | S6L Now Available

The next stage in live sound is here—with the award-winning VENUE | S6L system, you can take on the world’s most demanding productions with ease.

LEARN MORE




VENUE Software is a Learn Once, Use Everywhere Approach

I wonder how many of you have ever considered this thought:

“Is software the servant of hardware, or is hardware the servant of software?”

By this I mean, generally speaking, does one get conceived and designed first and if so, which one? Do we design hardware to support the software vision, or do we design software to support the hardware vision? Or even, is it a singular, all encompassing design?

During the time of conception for VENUE live sound console products, competing manufacturers were developing console control software and hardware with what appeared to be a “one console at a time” mindset. By them doing so, logic dictates that it would then require dedicated development resources for each and every new product—in this case mixing consoles—that would be developed moving forward over time. That also meant that as time went on, for all of the different versions of software and their associated console to continue on a path of development, it would then require its own team of software specialists to be focused on that software and console until it reached the end of it’s life. Once a new product was conceived, so was the new corresponding control software and on we go to the next new product.

No big deal really, right? Well, on a  white board this looks viable and maybe even preferable on some counts because it’s always something “new” coming out and multiple teams can remain focused on one single product without the need to be bracketed by other products by the same manufacturer.

But as I’ve come to learn in my nearly 15 year stint behind the curtain of product manufacturing—the white board is many times the gateway drug to working in a vacuum where all decisions can find rational if you work on them long enough. Because of this, there is always the need to grab a big bucket, fill it to the brim with reality, and heave it right at that ideals driven white board and see what it washes away.

During the concept and design phase of the VENUE Live Sound Environment project, there was a concerted effort to change that new and emerging paradigm of how software interacts with hardware with regard to live sound products, file portability and their ongoing development and longevity.

Here are a few of the realities of the live sound market as it existed before we set out to make VENUE. Our goal was to recognize and plan strategically in order to positively address these realities for the live sound market before embarking on how VENUE software would be conceived and live what we hoped would be a very long and fruitful life.

Reality one of the day; all mixing consoles of that time (dominated by analog) had a tendency to have an extended and distinguished shelf life and remain viable to the sound for hire vendor for a very long time. Honestly, probably much longer than any manufacturer would ever want to concede. The change over to brand new technologies, or new versions of existing technologies, was traditionally a long drawn out crossfade.

Reality two, the traditional demands on the people mixing on these consoles were that they could regularly be asked to move from one console manufacturer to another when working on tour, especially touring internationally—and more importantly— sometimes change from one console size and architecture to another while with the same act—all in order to accommodate small venue sizes and space restraints for example. Sometimes they would be required to simply use what was available.

Thirdly, digital console designs by many manufacturers (and as they currently exist today by the way) stood to throw a formidable learning curve challenge to the live sound mixer if he or she wanted to stay operationally fluent on many different manufacturers consoles. With digital, the idea of moving to a different manufacturer mid tour was considerably more daunting in that it not only required a complete rebuild of the data on the new console, but then also in turn, have to relearn and reorient themselves to a new tactile environment that was oft times wildly different than what they were currently used to. This situation was exacerbated by the concept that show files were incompatible between consoles—sometimes even between consoles offered by the same manufacturer.

The VENUE design team was determined to address these challenges, along with many others during the development of VENUE software and hardware. There was a concerted effort to be as “eyes wide open” as was possible at the time and under the circumstances.

Our model centered around the idea that once VENUE software was put in to play, it would continue in development not only for the first product that we released; D-Show, but would be central to the power and functionality of every VENUE console design moving forward—even including next generation products if at
all possible.

Our model centered around the idea that once VENUE software was put in to play, it would continue in development.

To do so requires an intense and long-term commitment from a manufacturer to pull this sort of thing off and there’s even one itzy bitzy caveat to consider as well, the software has to be successful and looked upon positively by the end users from day one, otherwise there is little point in moving forward with future development.

Now, don’t easily skim over what was just said here and in turn lose sight of the “gold” in this concept for you the end user.

Consider that all Avid live sound mixing products use a single team developing a single application of VENUE software. The advantages of this for you the mixer are multi-fold. Consider the following.

First, portability.

With Avid live sound mixing products you can build a show file on any of our systems—even if that system is running a software versions dating back to the very early days of VENUE software—and load it on a system today running the latest version of VENUE software and use it. You can also go the other direction as well, meaning; build a show file on the most recent version of VENUE software and deploy it on a console that is running a very early version of VENUE software. This is true for even a next generation product such as the Avid S3L System. I challenge you to name a computing product or digital audio product, let alone a live sound product where you can actually pull this off. This requires long-term vision along with an intense development and testing commitment from Avid engineers to pull it off and have it actually work.

Secondly, extended life span for Avid live sound products.

Because VENUE software development is not constantly starting, stopping and then restarting from scratch for a new product, an updated release gives all VENUE products the ability to gain feature enhancements as the software improves and further develops. This also bodes well for building test grids for the software, as it simply requires the addition of grids for new hardware based on existing grids for the previous hardware. Subsequently,  it’s not nearly as daunting of a task or demanding on resources as is building test grids from the ground up for very new product released. Metaphorically speaking with regard to the software; when the water raises for one VENUE product, it raises the water for all VENUE products.

Thirdly, and maybe most importantly IMO is knowledge portability.

I characterize this in my presentations to end users as “learn once – use everywhere” with regard to VENUE software driven products. With this approach, you as the end user get the added bonus of, from a software perspective, needing to only learn one software application for any given Avid live sound product. This is enormously empowering, stress reducing and time saving when regularly moving from one product to another within the Avid live sound line.

So as you can see, we are now most definitely in a different time and reality where hardware can regularly pass us by and live in our rear view mirror while an ongoing and long standing software development legacy serves as the bridge to future live sound products. All the while providing you the means to hold on to expertise and refine what you already know and have mastered. All of which should give you great confidence moving forward when using Avid live sound products. Happy mixing everybody!