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Making the Cut: Sim Evans-Jones Talks Editing Shrek With Media Composer

Avid sponsored the annual ACE EditFest in London this summer and had the chance to sit down with a must-see panel of talented editors. Our new Making The Cut blog series features award–winning editors discussing their craft, their workflows, creative processes and upcoming projects in an exclusive and intimate setting.

 

Sim Evans-Jones, ACE, commenced his higher-level training with a Communications Degree that exposed him to a variety of film-related practical disciplines, but as he recalls it was “the editing that clicked with me”.

He soon became aware that pursuing editing meant he could be a “problem-solver” but without the need “to interact with actors, crew, rain, locations, sets and costumes! I have always been fascinated with TV, and analysing TV and movies, and editing seemed to be the thing that best suited my slightly introverted point of view.”

With credits on titles including Shrek and Shaun the Sheep Movie, animation has proven to be particularly pivotal to Evans-Jones, who highlights the fact that everything is “storyboarded before it is shot, so you get to see the whole movie before you start it”.

Animation is also uniquely collaborative – hence Avid’s Media Composer has long been an integral element of his workflow. “You have to have the process broken up into distinct phases and have multiple workstations working on the same project at the same time – and that has consistently been Avid’s strength. You can share the work out; be importing whilst you are editing; make reels that are relevant to the sound department; export stuff that is relevant to the floor when you are in production… There is a very clear progress from rough cut to fine cut through Avid.”

“With Avid there is a very clear progress from rough cut to final cut.”

—Sim Evans-Jones, editor of ‘Shrek’

A big thank you to the team at American Cinema Editors who helped organize the interview at this year’s EditFest London.

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Making the Cut: Axel Geddes Talks the Intuitive Nature of the Avid Platform

Avid sponsored the annual ACE EditFest in London this summer and had the chance to sit down with a must-see panel of talented editors. Our new Making The Cut blog series features award–winning editors discussing their craft, their workflows, creative processes and upcoming projects in an exclusive and intimate setting.

 

Film editor Axel Geddes has been a mainstay of the animation world since he began working at Pixar – the legendary US studio that celebrated its 30th anniversary earlier this year – as an Assistant Editor on Monsters Inc. in 2001. Since then he has worked on many of Pixar’s milestone productions, including recent global hit Finding Dory – the long-awaited sequel to Finding Nemo.

Having had experiences with a variety of editing systems, Axel Geddes now has a stated preference for Avid. “I love the intuitive nature of the Avid platform,” he says, “and it is also my experience that is the most robust system out there.”

In particular, Avid shared storage proved to be invaluable during work on Finding Dory as multiple editors sought the greatest possibility flexibility. “It meant that we were able to jump between workstations and bring in additional ones without any difficulty,” says Geddes. “We were also able to pull relevant information from different drives.”

Above all, it is evident that Geddes prizes the platform’s flexibility. The ability to access the system on a laptop “and make changes right away, cut it on the go, upload it online, and the studio can download it right away” is a real asset, he adds.

“I love the intuitive nature of the Avid platform”

—Axel Geddes, editor of Finding Dory

A big thank you to the team at American Cinema Editors who helped organize the interview at this year’s EditFest London.

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Making The Cut: Úna Ní Dhonghaíle Talks Creative Documentaries, Animation and TV Drama Editing

Avid sponsored the annual ACE EditFest in London this summer and had the chance to sit down with a must-see panel of talented editors. Our new Making The Cut blog series features award–winning editors discussing their craft, their workflows, creative processes and upcoming projects in an exclusive and intimate setting.

 

With recent credits including The MissingThe Crown and Ripper Street, Úna Ní Dhonghaíle is one of the pre-eminent TV drama editors of the age. But she is also active in documentary and animation, and says that in particular her earlier work on “creative documentaries” helped to shape her subsequent dramatic work.

“There is an integrity to telling a story about a real person who exists in the world outside the frame of your story,” she says. “In drama I took the skills I had learned [in documentary about] how the plot should reveal aspects of the character, and how to keep the audience involved and engaged, and have them empathise with the characters.”

Ní Dhonghaíle’s initial work in the late 1990s after completing her studies at the National Film & Television School, UK, revolved around editing on film – but shortly after her movement to an Avid-based workflow “was quite seamless. Editing on Avid allowed greater speed, and greater choice for the director.” In time, the process became “like second nature… you do it automatically.”

Avid technology has remained integral to Ní Dhonghaíle’s editing life as she has developed her ideas about the “psychology” of editing. It is possible to adjust the image “to help with the rhythm of your editing [and] manipulate the edits to give an emotional reaction to your audience.”

“Editing on Avid is like second nature… you do it automatically”

—Úna Ní Dhonghaíle, editor of ‘The Missing’

A big thank you to the team at American Cinema Editors who helped organize the interview at this year’s EditFest London.

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Accelerate storytelling with the tools embraced by top movie, television, and broadcast editors. And power through HD and high-res editing faster and easier than ever.




SNL Pro Leads the Indian Market With the Next Generation of Mixing Consoles

Sound and Light Professionals (SNL Pro) has become the first rental company in Asia to add Avid’s VENUE | S6L console to its inventory, investing in two units. The purchase was made as the rental company looks to future-proof its sound reinforcement offerings and cater toward live events of any size and scale. It was facilitated by Ansata Computer Systems, Avid’s distribution partner in India. The manufacturer describes the S6L as a comprehensive live mixing system.

 

“Technology is a key part of our industry, and I believe this is one aspect that can really get you to be future-ready, which will ensure that you always stay a few steps ahead of the rest,” explained Manish Mavani, director of SNL Pro. “This is why our purchase decisions have always been focused on technologies that are radical and ahead of their time. If you look at our loudspeaker rigs, we’ve always purchased world-class brands whose product lines were revolutionary.”

When it came to purchasing new consoles, it was this mindset that led Mr. Mavani to Avid.

“One can’t deny that Avid has always come out with great technology in their products – especially the VENUE series of consoles. With festivals across the country all demanding monitor and front-of-house mixes, it was time for a plan to eliminate the passive splitter and use the gain tracking that was on offer with the S6L. We have used consoles from other manufacturers in the past but were not satisfied with the features they delivered. But with the S6L, that’s another story altogether.”

—Mr. Manish Mavani, Director of SNL Pro

“The gain tracking features are mind-blowing, and with the amount of DSP the console comes with, you know it’s absolutely future-ready,” Mr. Mavani continued. “The large number of inputs on one console is an amazing bonus, and the fact that the console comes with software that we’re all familiar with makes it an absolute breeze to navigate around.”

“With the purchase of two full-blown Avid VENUE | S6L systems, SNL Pro is poised to set a new benchmark in the live sound rental market in India,” said Leslie Lean from Ansata. “This purchase will help Manish and his team meet the challenges of the most demanding live sound productions and deliver the best possible sound quality while enjoying the familiar VENUE workflows with total show file compatibility.”

“Our relationship with Ansata goes way back, and with the prompt service that we have always experienced, it was a no-brainer for us to know that we were doing business with the right company and the right people,” added Mr. Mavani. “The presales and sales experience and the training support that Ansata provided were absolutely amazing. The sessions at the warehouse and on site were extremely educational, which assured the engineers of all of the board’s new features. And credit goes to Neil and Mahesh of team Ansata. I think it’s absolutely important for a brand to be represented by good people who are passionate, and I think Ansata has been exactly that for Avid.”

 

A special thank you to Simon Luckhurst from ProAudio Asia who conducted the interview.

VENUE | S6L Now Available

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“I Love This Board So Much!” — Gord Hillier Discusses Mixing ‘Boyka: Undisputed 4’ on Pro Tools | S6

In the first of a series of specially-shot videos produced in collaboration with Nu Boyana Film Studios in Sofia, and Avid partner Bulcomp, Bulgaria, re-recording mixer Gord Hillier talks to supervising sound editor Kris Casavant, examining his use of Avid-based workflows, and the contribution made by the Avid Pro Tools | S6 control surface to his work on forthcoming martial arts film Boyka: Undisputed 4, which is due for release this September.

“One of the reasons that I am really loving working on the S6 for this project,” says Gord, “is that we are in a one-max mix environment, and yet we are working on a show that has quite a bit of coverage. I have at my fingertips three dubbers as well as Media Composer running elements including dialogue, music, effects, foley and BGs, and I can control all three dubbers by navigating through whichever dubber I am controlling at the moment. Then through the use of layouts we can really dive into each element specifically or view it from a much more macro level, thereby achieving a good handle on the whole show.”

“Not only can I gain access to all the elements very quickly, I have customised the console to work very quickly in a manner that is comfortable to my style of workflow.”

—Gord Hillier, re-recording mixer 

Dubbers, Layouts and Softkeys

The three dubbers being used on Bokya: Undisputed 4 are allocated as dialogue and music on one; sound effects, foley and BGs on the second; and then a third for recording, explains Gord. “But when we need to get to something more specific, like the sound design or the actual hit that is happening, I can quickly bring up that layout and the console immediately jumps to the faders that correspond to that particular breakdown. It’s nice to be able to bring up a fader that is a VCA and spill it out across the console for the purpose of quickly referencing the meters or making a small adjustment.”

Gord created a number of layouts for this particular mix template, which range from the hits and accents to sound design elements, camera whooshes, vehicles and more. “One of the things I really love about this console is that with the tier drop audio you can see the regions in front of you when you are mixing. I no longer spend very much time looking over at the monitor and a lot more time connected with the project I am mixing.”

Once Gord creates the layouts and different elements that he wants to be able to access quickly, the user softkeys enable him to bring the automation and editorial parameters that he uses most frequently, such as Preview and Punch Preview, to his fingertips.

Gord also benefits from a user page that has all of his automation features to let him know what he is currently automating. “I also tend to use the group/non-group functions and suspend automation. Once you have spent a little bit of time creating the layouts and softkeys, and have got the console to work the way you like, you can save that to a file which you can take to any studio using an S6 console and then have instant recall for that particular template.”

Standard Mixing Mode

Another feature that Gord appreciates with regard to customising the desk is that, “once in a while you can actually just exit layouts altogether and work in a traditional inline console. So you can bring up all the faders for the particular dubber you have chosen, and then by nudging or banking you can get to the features you want to access.”

“It’s been wonderful that the console has adapted so well to our particular project and needs.”

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Avid VENUE | S6L at the Warsaw Summer Jazz Days Festival

The Warsaw Summer Jazz Days festival was created in the early 90’s out of the need to compete with the Jazz Jamboree Festival. The main idea was to create a platform that promotes contemporary jazz, and over the years the festival has grown to earn worldwide success and is highly regarded in the world of jazz. Every year in late June, Warsaw attracts world-renowned international and local talent, and this year’s festival featured the VENUE | S6L as one of the main consoles that was used throughout the festival.

Avid’s Polish partner Konsbud Audio caught up with Thomas Dudar, the FOH engineer from Craftman rental company that worked on the console to hear what he had to say about the festival and his experience working with the new console.

How do you like working on the S6L compared to what you’ve worked on in the past?

TD: I was really impressed with the console and can easily say that it is now one of my top desks. I was very comfortable working on it and it gave a steady, great performance throughout the festival. During these shows, you need a reliable desk that won’t fail. There is no room to compromise on top quality when you are live; console reliability is of utmost importance. The S6L did it for me. I liked its huge processing power, the large number of available input and output channels, the ability to simultaneously use a lot of plug-ins, the extremely convenient and intuitive user interface, and its outstandingly pristine and clear sound.

 

Have you previously worked on other Avid consoles? What are the most noticeable similarities / differences? 

TD: The S6L has a lot of similar functionalities and features compared to the other VENUE consoles. Engineers that are familiar with the Profile and S3L-X, for instance, won’t have a lot of problems adapting to the S6L, because all of the Avid consoles run on the VENUE software which you would already be familiar with. The only thing that is changing is the desk. Having the VENUE Software be a constant element in all the desks is a great benefit, because it allows you to freely move files between the different consoles so you aren’t limited to sticking to one board and having to worry about exporting and importing [show] files.

On the S6L specifically, I was really excited to see the new interface with high quality touch screens (finally!) and a multitude of configurable encoders and buttons—it makes my life so much easier and my work so much more effective and simpler. Almost any desired function can be performed in many different ways, and you are free to do it the way that works best for you. This is quite a rare thing with most desks, because that means that the board can now adapt to your style and preferences versus the way its always been where you as an artist need to adapt to how the board can function. It just makes your life that much easier when the tool you are using facilitates the outcome you want to achieve—it gives you more room to get creative with your work instead of putting a lot of focus and effort on getting the basic things done correctly.

 

 

Did you use the onboard plug-ins?

TD: Yes, they are quite useful during the performance, although I must say, I didn’t find them to be much different from the standard set found in the previous [VENUE] boards. A few plug-ins are new and some have been slightly revised (like the Reverb), but for the most part, I feel like they remained unchanged. But in any case with such excellent sounding preamps, you really don’t need to use many plug-ins, especially “vintage warmers” to improve the sound.

 

How did the console perform overall in the festival?

TD: Throughout the entire festival, the desk was great in terms of the speed of the console and the ease of work on it. For this festival, the main emphasis was on the final sound and clarity of the acoustics. The S6L has a very pristine and accurate sound, which definitely made my job that much easier out there.

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.

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Smoke & Mirrors Launches Indian Facility with Avid Pro Tools | S6 Control Surfaces

Established in 1995, Smoke & Mirrors is a visual effects and post-production company that delivers exciting, visually stimulating and contemporary work to the advertising, film and music video industries. With offices in London, New York and Shanghai, it was one of the first facilities to champion Avid’s industry-leading products and the first facility ever to exclusively install the Avid Pro Tools | S6 control surface.

The Pro Tools | S6 console provides modern sound engineers with the most intuitive, immersive mixing workflows. The revolutionary modular control surface leverages the best of the industry-leading Avid ICON and System 5 product families, providing superior ergonomics and intelligent studio control. Built on proven technology and trusted by top audio professionals, it delivers the best sounding mixes possible.

With a global operation running across multiple time zones, Smoke & Mirrors’ latest venture is the launch of an audio post studio in Chennai, India, to support the increasing flow of incoming work from the East and beyond. Scott Little, head of audio at Smoke & Mirrors, said, “Since we installed the S6 two years ago here in London, we’ve gained a great deal of experience using the console — and it’s been wonderful. When talk of setting up the Indian office came about, there was no question about it — we were definitely installing the S6!”

The setup in Chennai, done through Ansata Computer Systems, replicates the three studios in Smoke & Mirrors’ London facility, using the same console, outboard equipment, plugins, software and monitoring. “Our templates and workflow are also setup in the same manner, allowing us, if needed, to share projects with ease between the two facilities,” Little said. “A project can be loaded in a matter of seconds without having to deal with time-consuming project configurations, importing files and the need to render splits. This enables us to have a very fluid and efficient workflow between the two facilities. In essence, it’s an extension of our three studios in London.”

The majority of work at Smoke & Mirrors in London and Chennai is short-form, broadcast commercials and promos. To cater to this, all of the studios are equipped with the Pro Tools | S6 eight-fader M10 console, apart from one 5.1 suite, which features the 16-fader M10.

“In terms of performance, our systems are built to easily handle the high volume and quick turnaround of our short-form work. As we record a tremendous amount of voice-over, both in studio and via Source Connect and ISDN, the S6’s functionality and performance, with its touchscreen and assignable soft keys, helps us to easily and efficiently manage sessions,” Little explained.

Looking at how Smoke & Mirrors continues to ride the wave of success in audio post production, thanks to the Pro Tools | S6 console, Little summarized, “For such a compact console, the S6 is full of features, extremely powerful and efficient, and is built to complement the smooth, precise workflow that we use for audio post production.”

The Pro Tools | S6 is trusted by top audio professionals and delivers incredible workflow acceleration, highly responsive handling and deep DAW integration in the most demanding production environments.

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Inspirational Avid Editors Share Wealth of Experience at EditFest London 2016

At this year’s annual ACE EditFest London, Avid is once again sponsoring another sold-out event, where attendees will be treated to a day of sessions and talks from an incredible line-up of editing talent.

At the prestigious BFI Southbank in London, there will be a series of must-see panel discussions with some of the most talented editors in the industry. Attendees will hear award-winning moviemakers discuss their craft, including workflows, creative processes, upcoming projects and more—in an intimate theatre setting.

The day will kick off with ‘Small Screen, Big Picture’- a session looking at editing for television, moderated by Antony Boys, ACE. He’ll be joined by Gary Dollner, ACE, Mark Eckersley, Úna Ní Dhonghaile, and Tim Porter, ACE to discuss the decision-making processes behind some of the most popular shows on television, including Game of Thrones, The Missing and Dr. Who.

Next up, ‘Editing Animation’, a session moderated by industry journalist, Carolyn Giardina, will see legendary editors from the Pixar team, Axel Geddes and Sarah Reimers, provide an exclusive inside look at the iconic studio’s animation process and a sneak-peek at their latest offerings, Finding Dory, and its accompanying short film Piper. Over the course of their careers, Geddes and Reimers have edited huge animation hits like WALL·E, Finding Nemo and Monsters, Inc., and are an integral part of the celebrated Pixar team led by John Lasseter.

‘Dailies to Delivery – Editing Features’ will give an in-depth look at the entire spectrum of film editing. Moderated by Academy Award-winning film editor Alan Heim, ACE, panellists Pia Di Ciaula, Sim Evan Jones, ACE, Paul Machliss, ACE, Nathan Nugent and John Wilson, ACE will share their editing stories, tips and tricks for using Avid Media Composer to craft cutting-edge cinematic masterpieces like A Quiet Passion, Scott Pilgrim vs the World, Room and Billy Elliot.

Finally, there will be a ‘One on One Panel’ with renowned Star Wars and Mission: Impossible editor Paul Hirsch, ACE, sharing his editing knowledge and expertise from working on much-loved blockbuster movies, including Footloose, Carrie and Ferris Bueller’s Day Off. When discussing why he uses the industry-leading choice for editors, Avid Media Composer, Hirsch explains, “It’s phenomenal that you can now sit in front of a laptop with Media Composer and have more expressive creative power than you could ever dream of whilst sitting in a tape suite 20 years ago.”

At this year’s event, we’ll be giving away 2 free copies of Media Composer ($1,299 value), so if you’re heading down, remember to stop by the Avid booth to learn more!

Peter Zakhary / Tilt Photo (www.tiltphoto.com)

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A Look Back at PALM Expo India 2016

What a show PALM Expo India 2016 was! The leading stage light and sound, AV install and music production expo ran from May 26 -28 at Bombay Exhibition Centre, Mumbai, with plenty of exciting technology for the thousands of visitors to see, hear and play with.

We exhibited with our longstanding regional partner Ansata Computer Systems, showing a wide range of our professional audio solutions that were enthusiastically received throughout the show.

Visitors were particularly impressed with the Avid VENUE | S6L 24D live mixing system, with a steady stream of people across all three days enjoying demos every hour. The reception of the console was fantastic, and Ansata already has received several orders following the show.

We also had a great reaction to the Avid Pro Tools | S3 control surface with the Avid Pro Tools | DOCK that enables users to integrate the free iPad app, Avid Pro Tools | Control. Pro Tools DOCK can be paired with the Pro Tools | S3 to provide enhanced functionality.

Many of the musicians that visited the stand loved the combination of the Pro Tools | S3 and the Dock, including the acclaimed percussionist Sivamani, who commented, “Pro Tools | Dock shortens the distance between my mind and my hand. Awesome!” Vijay Dayal, sound engineer at YRF Studios in Mumbai, thought that the new Pro Tools | Dock “is absolutely brilliant and super innovative. A huge time saver!” Meanwhile, Pramod Chandorkar, sound engineer and founder of SIA (Soundideaz Academy), said, “It will help me focus on the creative process — absolutely brilliant!”

We also gave live demonstrations of Avid Pro Tools | HD Native Thunderbolt OMNI system, which is widely regarded as the most powerful native DAW in the market, and Avid Cloud Collaboration for Pro Tools, which enables audio professionals to compose, record, edit and mix from anywhere in the world. This really caused some excitement, with standing-room-only demonstrations throughout the show.

All in all, PALM Expo India 2016 was a huge success and a very enjoyable show. We’re already looking forward to next year!

Mixing Redefined

Choose a pre-configured S6 system or build your own. Speak with our experts to determine the best fit for your workflow and business.

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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




Avid VENUE | S6L Makes Pigs Fly on Busted Reunion Tour

It’s been more than 10 years since British pop-punk boy band Busted played a show together. Now, Busted has officially reunited, and veteran front-of-house engineer Eds John is harnessing the power of Avid Everywhere for the tour, utilizing the award-winning VENUE | S6L live sound console to bring these special shows to life.

First, a bit of history: In 2005, Charlie Simpson quit the chart-topping trio after reportedly growing tired of pop songs and taking a career reroute into heavy metal, forming the band Fightstar. This year, Simpson rejoined former members Matt Willis and James Bourne to play a string of arena shows across the United Kingdom and Ireland on their uniquely named “Pigs Can Fly” tour. Fans went crazy for tickets, and the two-hour spectacular pulls out all the stops.

Meanwhile, Eds has spent the last 23 years on the road doing what he does best, shaping memorable moments for hundreds of thousands of fans with his passion for live music. An avid user of Avid live sound systems for most of his career, he’s toured the globe with acts including Orbital, Fun Lovin’ Criminals and, more recently, pop acts like The Vamps, Lianne La Havas and supergroup McBusted—made up of two members of the recently reformed group, who paired up with the pop-punk band McFly.

Avid VENUE | S6L has been breaking records since its release in 2015, with industry recognition coming from a host of award wins. Eds kept a close eye on the success of the latest addition to the Avid live sound family and was keen to take the new console out on the road.

After providing powerful Avid VENUE systems for the McBusted shows in 2014, hire firm Wigwam supplied the new S6L console for the highly-anticipated Busted arena tour. Eds says: “For me, the deciding factors were down to the new added benefits in VENUE | S6L, like increased channel count and processing power, along with my knowledge of working on an Avid VENUE system. S6L was so easy to jump straight onto, and after just three or four hours of training, I was ready to go!”

Seeing how far VENUE has come since he started as an FOH engineer, Eds discusses how the increased amount of inputs are making a huge difference to his daily workflow. “In the past, we may have come unstuck with a limited channel count of around 96 mic inputs and linings,” he says. “As crazy as it sounds, arena tours frequently run well over that. Now, on the S6L with its 164 mic inputs, I finally feel like I have room to breathe. There’s plenty of space to fit in the support bands without having to move anything; they just fit in at the end of the patch, instead of repatching and adding in new lines like before.”

Eds is also seeing a notable rise in the processing power on the S6L. “We’ve only got the one engine in there, but I’ve noticed that I can have an entire mountain of plug-ins open without it affecting the processor,” he says. “Also, I’m only using one card, and it’s not even full! On a full-scale arena tour like this, I used to be filling up three cards no problem at all, so that’s also a massive benefit.”

There’s a unique element to the Busted “Pigs Can Fly” tour, giving some of the band’s die-hard fans a totally one-off experience. Playing on the name the band have given the tour, “The Pigsty” is an exclusive, three-story standing area situated behind the stage and in full view of the rest of the arena. From here, 200 die-hard punters pay to rock out and participate in the show with confetti, masks and lights.

“This was the first time that the S6L was a valid option for us to take out on the road and to really put it through its paces. On this tour, we have this massive extra consideration in terms of sound, as these 200 fans are experiencing the show from behind the band. The backstage area is over three stories tall, so we’ve had to hang a PA up in there and even lay it on the floor through the structure to ensure the entire space is covered.”

Eds explains, “There are moments during the build-up to a show where we need to talk to the audience in the ‘Pigsty’ and prep them in advance for things that the band need them to do at points during the gig. As we want to maintain the suspense and not let the rest of the arena in on these surprises, I feed different matrix mixes to the structure so that myself and the band can talk to them separately. That’s been an added benefit in making these shows even more spectacular, and the S6L makes it so easy to route everything back there without any fuss.”

Eds adds that some of the other benefits of taking the latest Avid VENUE console on the tour include new features such as the matrixing system. “It’s amazing—the 24×24 matrix is laid out more logically, and makes it really easy to pick off AUX subgroups and matrices throughout the show.”

“I’m also seeing the benefit of having 24 VCA’s (Voltage Controlled Amplifiers) to play with; it make things a lot easier. The show has secondary B stages, so everything is nicely spread on VCA. When running that many inputs, I’d normally need lots of small discrete groups of inputs, but the S6L allows me to mix the whole show on VCA without having to go back to individual channels.”

—Eds John, FOH engineer for the Busted “Pigs Can Fly” tour

Looking at how VENUE | S6L is changing the way Eds John continues to make a name for himself in the live sound market, he explains: “It’s all about making myself futureproof. With the S6L, I can’t see myself ever running out of anything, like the extra AUX outputs that weren’t on previous systems. For me, even though this desk is still fairly early on in its life, I need something to stick with for the future, and it’s definitely delivering.”

Eds also makes a valid point when considering that most modern systems aren’t always available at every show: “With Avid systems, I have the security of knowing that when I’m moving around on tour, I can put my USB into the console with a different I/O, and it will still spring into action and patch automatically.”

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