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Avid Audio Community Plugin

Join the Avid Audio Solutions Specialist team as they cover a range of topics and interview leading engineers and sound designers from around the world. Check back often to see what webinars are coming up and watch past webinars on-demand.

Upcoming Webinars

Tuesday, June 15, 2021

17:00 London (BST)/12:00 New York (EDT)

TBA

Join us for the next Avid Audio Community Plugin!  We’ll be announcing the next one soon…so stay tuned!

Don’t wait—space is limited, so register today to secure your spot!

 

Register Here

Watch Past Webinars

Pro Tools + Auto-Tune: A Pitch-Perfect Combination

In this session, we are joined by our friends at Antares, Henrik Bridger and Anthony Gordon, who showcase what makes Auto-Tune® and Pro Tools a lethal real-time tuning and production powerhouse, including the Avid DSP specific version, Auto-Tune Hybrid, for HDX and Pro Tools | Carbon users!

Using MPC Beats and Reason+ in Pro Tools

Audio Application Specialist, Simon Sherbourne shows how to use MPC Beats and Reason+ in Pro Tools.  Simon will explore show these two powerful music production tools integrate closely with Pro Tools, and bring a wealth of creative possibilities to your music.

Pro Tools | Carbon Early Adopters

Audio engineers and music producers Sam Pura and Jean-Marie Horvat join us to share their insights on putting the Pro Tools | Carbon hybrid audio production system to work!

Get to know the Noise Engineering Plugins

Noise Engineering and artist/producer Matt Lange joins us to discuss the three newly released AAX-exclusive plugins for Pro Tools based on their popular Eurorack modules, with a Pro Tools demo by Matt.

Year in Review

In the final Audio Community Plugin of the year we take a look back at the world of audio from Avid in 2020, from Pro Tools and EUCON software releases, to ground-breaking new hardware, followed by one last Q&A session with the team.

Accessibility in Audio

In this Community Plugin, we are joined by special guest, musician, producer, and engineer, Jason Dasent, an expert Pro Tools user, without eyesight. Jason discusses the unique challenges he encounters while  working in the music industry and demonstrate his use of the accessibility features in Pro Tools . We are also  joined by Ed Gray from Avid who is instrumental in driving accessibility into Pro Tools and Sibelius.

Avid Audio Update

In this Community Plugin, we are joined by Avid’s François Quereuil, and Kyle Splittgerber, to discuss the brand new hybrid audio production system, Pro Tools | Carbon and the latest Pro Tools 2020.11 release.

The Best of Audio Plugins

Two of the audio industry’s leading plugin developers, Colin McDowell (McDSP) and Dirk Ulrich (Plugin Alliance), discuss the power of the AAX and Pro Tools platforms and share their respective design philosophies.

Get Up and Running with Pro Tools | MTRX Studio

Take a tour of the powerful and versatile Pro Tools | MTRX Studio interface and learn how to configure use the system to support a range of music, post, and even Dolby Atmos® setups and workflows.

The Immersive Musical Journey with Pro Tools, AvidPlay and Dolby Atmos

Explore how to create and deliver music in Dolby Atmos®, using Pro Tools and AvidPlay with a distinguished panel of experts, including producer and engineer Mert Özcan, Jacaranda Records’ Capomaestro Ray Mia, producer and engineer Mark Gustafson, along with Dolby’s Ceri Thomas and Avid’s Greg Chin and Rob D’Amico.

Setting Up a Home Studio

Avid Audio Application Specialist and Producer Gaurav Harrish shares his tips for Pro Tools beginners, including how to set up a studio and start recording.

Mixing Atmos for TV

BAFTA winner and Head of Audio at The Farm, Nick Fry shares his creative process and discusses the advantages of working in Dolby Atmos to create the best possible audio experience.

In the Studio with Greg “Stryke” Chin

Electronic dance music recording artist/remixer/DJ and Avid Audio Evangelist, Greg “Stryke” Chin shares some of his workflows and explains his approach to music creation using Pro Tools.

Remote Music Mixing with Yaron Fuchs and Michael Brauer

Veteran mix engineers Yaron Fuchs (Herbie Hancock, Annie Lennox, Ben Harper, Paul Simon, Sting) and Michael Brauer (Coldplay, Rolling Stones, Aerosmith) discuss their approaches and workflows for remote, collaborative music production.

Folder Tracks Deep Dive

Learn about Folder Tracks, the powerful feature and workflow enhancement introduced in Pro Tools 2020, including some creative uses for Folder Tracks in your music and post production sessions.

Remote Workflows in Audio Post

Discussion about remote workflows in audio post with special guests Tom Dalton (Brown Bear Audio), Avi Laniado (Harbor Picture Company), Lew Goldstein (Parabolic Post), and Ken Hahn (Audio Post @ B).

Using EUCON Surfaces with Folder Tracks

Learn how to use Avid’s EUCON control surfaces to navigate and mix Pro Tools Folder Tracks. This video also covers the latest QuickTime workflows on macOS Catalina.

Pro Tools 2020.3, Pro Tools | MTRX Studio, and Avid S1

Discover what’s new in Pro Tools 2020.3, and get in-depth tours of the new Pro Tools | MTRX Studio interface and Avid S1 control surface.

Make your mark with Pro Tools

Create music or sound for film/TV and connect with a premier network of artists, producers, and mixers around the world.




VENUE 7 Webinars

Take a Giant Leap Forward in Power and Performance

Join us for the biggest Avid VENUE release since the introduction of the Avid VENUE | S6L system—VENUE 7. Live sound veterans Robb Allan and Robert Scovill explore the new features and workflows in VENUE 7, including I/O sharing between three networked systems, Milan AVB support, comprehensive Input Delay Alignment, bus-to-bus routing, and numerous other mixing, processing, and signal flow enhancements. Join us and find out how VENUE 7 makes S6L the most powerful live sound platform in the world.

Watch the Webinars

Avid VENUE 7: 2-track USB Recording and Playback

Discover the new 2-track USB playback and record feature for S6L, including how to record your shows directly to USB key in .WAV format with automatic head and tail editing.

VENUE 7: Milan AVB Support

Learn how the new bidirectional MLN-192 Milan option card for S6L enables you to connect directly to solutions via Milan AVB from leading audio manufacturers, including L-Acoustics, d&b, Meyer, Adamson, and others.

VENUE 7: Input Delay Alignment

Discover all of the new compensation methods now available in VENUE 7 to optimize your S6L system, including both FOH and MON workflows.

VENUE 7: Processing and Signal Flow Enhancements

Learn about new signal flow updates in VENUE 7, including post-fader inserts, bus-to-bus routing, increased plugin slots across all systems, mix minus via matrix, and much more.

VENUE 7: Processing Enhancements

Discover the new HEAT processing available to all input processing channels, along with new GEQ/HPF/LPF additions to all output processing channels, the new Big Meters View, and more.

VENUE 7: Sharing I/O Between Three S6L Systems

Learn how to configure and use three S6L systems sharing I/O across the AVB network using Avid’s True Gain technology in a redundant star network.

Monitor Engineer Workflows—April 23, 2020

S6L Unified Platform—May 6, 2020

FOH Engineer Panel—May 13, 2020

What's New in S6L—May 20, 2020

Theatre Sound Design—May 27, 2020

S6L Custom Layouts—June 3, 2020

Demystifying Loudness—June 10, 2020

Groups, VCA’s, and Matrixes in S6L—June 17, 2020

Networking Demystified—June 24, 2020

Using S6L Snapshots—July 8, 2020

Mixing Orchestras & Broadcast—July 22, 2020

S6L Dual Operator Workflows—August 5, 2020

Exploring S6L Connection Schemes—September 16, 2020

Demystifying Immersive Audio—September 23, 2020

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 Tech Tips

These short Tech Tip videos show you how to quickly access and use key S6L features to get the most out of your system.

Encoder Assign

Position Safe Spill

Sends On Faders

Avid VENUE | OnStage App

Custom Lock Screen

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.




Live Recording and Virtual Soundcheck with Avid VENUE | S6L and Pro Tools

Watch this two-part video series to setup and use S6L’s powerful live recording and Virtual Soundcheck capabilities in conjunction with Pro Tools.

Part 1: Setting Up & Configuring S6L with Pro Tools

Part 2: Recording a Show & Performing a Virtual Soundcheck

Download the full S6L Live Recording Guide here.

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.




Mixing Muse—Marc Carolan talks with Robb Allan

Getting the Gig

Working with the Band

The Move from Analog to Digital

Signal Path and I/O Sharing

S6L Surface Workflows

Outboard Racks

S6L Plugins

S6L Snapshots

S6L Events

Marc Carolan on Mixing Muse

by Robb Allan

Ok, So I’ve been at a gig or two over the years and scribbled the odd thought down on the back of a ciggie packet. You’ll find the early albums here.

 

As T.S. Eliot almost said:

In the gig the roadies come and go.

Talking of all-things audio

 

So, all and all, I must have watched hundreds of engineers mix thousands of bands. Can’t say I remember all of it, or even most of it, but it seems to me the best FOH mixers break down into two camps. Some engineers are very technical and bring a lot of deep domain knowledge, understand the physics and bring a clear analytical head to the job. Other engineers have a natural talent, come from a musical background, and are full of musical empathy for the artist they work with. Rarely do engineers combine both traits.

I first met Marc Carolan, or “MC” as everyone calls him, twenty something years ago. At the time we worked for different bands with the same management company. It was obvious to me from the beginning that he was the rarest of roadies that had both the musical talent and the technical ability. The life of touring engineers is such, that you may do a couple of tours with someone, spending 24 hours a day together, then not see each other for a while. Usually though—and I think this is one of the best things in a rock and roll life—when you do reconnect, it’s like you’ve just seen each other five minutes ago rather than a year or a decade or however long the while is. MC and I, obsessive audiophiles both, have always zoomed straight back into all things audio when we’ve bumped into each other over the years.

Robb Allan with Marc Carolan

The videos above are the result of just one of these types of catch-ups. No script or set questions—just two audio friends catching up and having a typical back-lounge chat on all things live sound. My colleague Chris Lambrechts and I turned up at a huge Muse open air show in Nijmegen, Netherlands, where Chris set up the cameras with our padawan Michael and filmed us ranging freestyle over a huge range of audio topics. We sat in the FOH position late into the night the evening before the show. It was a little creepy, to be honest, as we were the only people in this outdoor enormodome. We get all over the desk and MC was very generous in sharing everything about his complex and original set up. We were, of course, very interested in his thoughts on the Avid S6L he is using on the tour, but we also talked of many other things that are hopefully of interest to the general audio citizenry. The future of our industry, moving between analogue and digital, plugins, DAW recording, and effects units. We also touched on the pressures of being responsible for the audience enjoyment of large shows, and how as an industry we can improve the experience for our clients and their audience. MC also shows us around his show file, snapshots, events, gainsharing and all of his external kit. There are lots of cool tips and tricks included in the conversation.

We filmed for four hours, and because there is so much content we’ve split the session up into the nine videos above.

As I said earlier, I’ve known MC man and boy, he’s way younger than me. We’ve had adventures mixing different bands on the same tour, we’ve even mixed a couple of bands in common over the years, sharing FOH duties whilst covering for each other. Before the cameras started rolling and after we’d caught up on each other’s families, we were reminiscing about some of those bands and tours. In particular we both spent a lot of time mixing a great Dublin band whose first album is still one of my favourites. We both had some mad stories with them fellas. They love a laugh and were always playing pranks on each other and everyone around them, even random people they’d pull into the madness. They had a really surreal sense of humour. I have so many roadie stories about those tours, I’ve been known to share after a small dry sherry, often apparently. Ask me sometime about the time they met a very famous ambient songstress backstage at a festival, or the mystery of Risteard’s eyebrow!

I remember them once going into a pet shop somewhere in the US and asking to buy a dog. The guy behind the counter asked them what kind of dog they’d like. They answered, “It doesn’t matter, any dog will do.” The guy said, “Well we have all kinds of dogs—what do you need a dog for?”

“Spare parts” they answered.

This was said with great seriousness as they secretly filmed the encounter. The storekeeper is now horrified, “What do you mean spare parts? You can’t buy a dog for spare parts. I must have misheard you.”

“No, spare parts are what we need it for, so if you’d just get us your cheapest dog we’ll be on our way.”

The tears were streaming down my cheeks it was so hard not to laugh.

“You can’t buy a dog for spare parts!”

“Why not, is it because we’re Irish? Are you saying our money is no good here?” This went on and on and eventually he just exploded and threw us out and asked us never to cross his door again. “Crazy Irish maniacs!” Genius.

Sorry, got a bit side-tracked, back to the vids. Hope you enjoy this video series as much as we did in making it. It’s very rare to be able to speak to one of the worlds top engineers, mixing arguably the biggest rock band in the world, right at his desk, candidly sharing all his audio secrets. More blogs and videos soon.

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 Live Sound Webinars

Join live sound veterans Robb Allan and Robert Scovill as they cover a range of live sound topics and interview leading engineers and sound designers from around the world. Check back often to see what webinars are coming up and watch past webinars on-demand.

Robb Allan and Robert Scovill

Wednesday, September 29th, 2021

1:00 PM ET / 10 AM PT / 6 PM BST

The Bowery and Teragram Ballrooms Choose Avid VENUE | S6L

Robert Scovill interviews Danielle DePalma, Production Manager for the Bowery Ballroom in NYC, to hear why Avid VENUE | S6L was selected to be the live sound console for the Bowery Ballroom, as well as for its sister venue, the Teragram Ballroom in Los Angeles.

 

Register Now

Watch Past Webinars

Monitor Engineer Workflows—April 23, 2020

S6L Unified Platform—May 6, 2020

FOH Engineer Panel—May 13, 2020

What's New in S6L—May 20, 2020

Theatre Sound Design—May 27, 2020

S6L Custom Layouts—June 3, 2020

Demystifying Loudness—June 10, 2020

Groups, VCA’s, and Matrixes in S6L—June 17, 2020

Networking Demystified—June 24, 2020

Using S6L Snapshots—July 8, 2020

Mixing Orchestras & Broadcast—July 22, 2020

S6L Dual Operator Workflows—August 5, 2020

Demystifying Immersive Audio—September 23, 2020

Exploring S6L Connection Schemes—September 16, 2020

VENUE 7: 3 Systems I/O Sharing—October 28, 2020

VENUE 7: Processing Enhancements—November 4, 2020

VENUE 7: Processing and Signal Flow Enhancements—November 11, 2020

VENUE 7: Input Delay Alignment—November 18, 2020

VENUE 7: Milan AVB Support—December 2, 2020

VENUE 7: 2-track USB Recording and Playback

Immersive Sound Mixing for HOW—March 24, 2021

Cross Pointe Church Case Study—April 14, 2021

Streaming Services for Houses of Worship—May 19, 2021

“The Lab” with Robert Scovill

The Lab #1—April 13, 2020

The Lab #2—April 20, 2020

The Lab #3—May 4, 2020

The Lab #4—May 11, 2020

The Lab #5—May 18, 2020

The Lab #6—June 1, 2020

The Lab #7—June 8, 2020

The Lab #8—June 15, 2020

The Lab #9—July 6, 2020

The Lab #10—July 20, 2020

The Lab #11—August 3, 2020

The Lab #12 Part 1—August 31, 2020

The Lab #12 Part 2—August 31, 2020

The Lab #13—September 14, 2020

The Lab #14—September 28, 2020

The Lab #15—October 12, 2020

The Lab #16—October 26, 2020

The Lab #17—February 1, 2021

The Lab #18—February 15, 2021

The Lab #19—March 1, 2021

The Lab #20—March 15, 2021

The Lab #21—April 12, 2021

The Lab #22—August 2, 2021

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 Live Sound Solutions at InfoComm 2019

InfoComm is the largest pro-AV event in the Western Hemisphere, with nearly 1,000 exhibitors, thousands of products, and 40,000 attendees from 110 countries. This year the annual event will take place June 12–14 in Orlando, FL at the Orange County Convention Center.

InfoComm promises to be an exciting show for Avid Live Sound, with the full range of Avid VENUE | S6L solutions being demonstrated on the Avid booth, from the newly-shipping, ultra-compact S6L-16C to the 48-fader S6L-48D. In addition to this comprehensive product lineup, several of our live sound partners—including Alcons, EAW and L-Acoustics—will be also be featuring VENUE | S6L systems as part of their respective show demos.

Come visit us at Booth #6471 on Level 2 of the West Hall to get hands-on with all of Avid’s latest live sound solutions and get your questions answered.

Be our guest at InfoComm

Want to attend the InfoComm Exhibit Hall for free? Register online for your complimentary pass using Avid VIP Code AVI899. In addition to the hundreds of exhibitors, this pass will also give you access to the Opening Reception, Audio Demo Rooms, Park, Center Stage, and more.

The full line of S6L control surfaces

Avid VENUE | S6L

We’ll have all five S6L control surface variants at the show, including the newly shipping S6L-16C and S6L-24C control surfaces, as well as the eagerly awaited S6L-48D, plus the full range of engines and I/O racks, including the new Stage 32 and Local 16. VENUE | S6L is the industry’s only live sound platform that offers 100% software, hardware and show file compatibility, enabling engineers to scale systems up or down to meet their changing requirements for control, processing, and I/O. Because the VENUE | S6L platform features the same VENUE software and workflows across every model, engineers are presented with an identical user experience regardless of system configuration, and InfoComm is a unique opportunity for you to get hands-on with all of the various systems.

Tom Wood mixing Shawn Mendes on S6L

VENUE | S6L Integrated with Partner Solutions at InfoComm

Alcons Audio – Demo Room W231A

Alcons Audio will be showing S6L as a part of their Pro-Ribbon Immersive Audio Experience system, driving an Astro Spatial Audio system.

EAW – Demo Room W224G

EAW will use an S6L console along with Flux:: SPAT Revolution to show off their immersive audio solutions.

L-Acoustics – Demo Room W221DE

L-Acoustics will be using an S6L system to demonstrate their MILAN integration, mixing and sending audio via Ethernet AVB to their LA4X amplifiers.

Grand Théâtre de Québec

As you can see, this year’s IncoComm is not to be missed. Be sure to visit us at Booth #6471 on Level 2 of the West Hall to experience Avid’s latest live sound solutions and get your questions answered by the Avid team. We hope to see you there!

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 Live Sound and Studio Solutions at Prolight + Sound 2019

The upcoming Prolight + Sound 2019 in Frankfurt, Germany (April 2-5) promises to be an exciting show for Avid live sound and studio systems, with several VIP engineers on hand and a range of solutions being demonstrated, including the VENUE | S6L family of consoles, as well as a wide range of Pro Tools software, control surfaces, and more.

Come visit us in Hall 8 on Stand F86, to get hands-on with Avid’s latest live sound and studio solutions and get your questions answered.

The new S6L-48D, S6L-16C, and S6L-24C control surfaces

Avid VENUE | S6L

We’ll have numerous S6L systems at the show, including the newly shipping S6L-16C and S6L-24C control surfaces, as well as the eagerly awaited S6L-48D, as well as a range of engines and I/O rack, including the new Stage 32 and Local 16. VENUE | S6L is the industry’s only live sound platform that offers 100% software, hardware and show file compatibility, enabling engineers to scale systems up or down to meet their changing requirements for control, processing, and I/O. Because the VENUE | S6L platform features the same VENUE software and workflows across every model, engineers are presented with an identical user experience regardless of system configuration, and Prolight + Sound is a unique opportunity for you to get hands-on with all of the various systems.

Innenhof Studios in Vienna

Avid Pro Mixing Solutions

Experience the most intuitive, immersive mixing workflows in the industry with Avid pro mixing solutions. From the modular Pro Tools | S6 control surface to the ultra-compact Pro Tools | S3 and Dock, Avid systems provide superior ergonomics, visual feedback, and the tightest integration between control surface and DAW ever offered. We’ll have an integrated S3 + Dock system on the booth demonstrating the latest EUCON software, as well as the best-in-class Pro Tools | MTRX interface.

Klaus Scharff mixing Die Fantastischen Vier at the Barclay-Card-Arena in Hamburg

Guest Live Sound Engineers

We are honored to have two exceptional engineers joining us this year to demonstrate how they mix on S6L and share their insights and tips:

 

Chris Madden mixing Anastacia

Chris Madden – FOH: Anastacia, Pink, Jesse J, Sade

Chris has been using VENUE systems since 2005 to mix a host of world tours with multi-platinum artists, including Pink, Jessie J, Joe Cocker and Sade.

 

Marko Vujovic mixing Korn

Marko Vujovic – FOH: Korn, Bushido, Nina Hagen

Marko is an in-demand live sound engineer who has been a longtime VENUE fan and using S6L to mix Korn and his other acts.

 

As you can see, this year’s Prolight + Sound is not to be missed. Be sure to visit us in Hall 8, Stand F86, to experience Avid’s latest audio solutions and get your questions answered by Avid’s team and our special guest engineers. We hope to see you there!

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-16C Makes its Unofficial Debut at the Sundance Film Festival

I woke up in Park City, UT on January 25th, and it was 14° F! Having lived in Phoenix, AZ for the past 30 years, that’s a bit of a shock. I was at the Sundance Film Festival which is held each year at numerous venues across the town of about 8,300 residences. During the festival, the town’s population increases by roughly 100,000 over the two week-long event, and it generates upwards of 200 million dollars for the state. It is a big deal.

What is Sundance? It’s the largest festival for debuting new feature films and short films in the US. So, why was I, as Avid’s live sound market development manager, at a film festival? Well, let’s just say there is a lot going on at Sundance. The festival kicked off on January 24th and ran through February 3rd. During this time, not only is there a lot of film viewing, but there’s also entertainment that goes into the wee hours of the night—everything from panels discussing topics related to the industry to live music performances—and therefore the need for a live sound mixer. Actually, multiple mixers.

Sundance ASCAP Café

I was there with the guys from Performance Audio based in Salt Lake City. They are one of several production companies that are providing equipment for the events. Rental manager John Anderson and I met up late last year and got to talking about the possibility of using our newly conceived, but as of then unreleased, S6L-16C at the Sundance ASCAP Café during the festival. The space is extremely tight at the ASCAP, but it’s a high profile venue and the only one that is actually officially sanctioned by the Sundance Institute.

Although the new S6L-16C would not be shipping by the festival, I didn’t want to miss the opportunity to use this new ultra-compact surface for the gig. After speaking with our product team, we agreed that the system and software were close enough to release to do the event. Perfect! I called John to tell him that we were good to go, and he then asked if we could do a shared I/O setup due to the space limitations of the space. Oh… okay… well, that adds another level of complexity doesn’t it? Again, I go back to our product managers and they sign off on this… phew…

“Let me start by saying that I have been an Avid fan since the debut of the VENUE series, but when I saw pictures of the S6L-16C, I was skeptical. It looked like it was too small to be practical for mixing on a large scale. I was completely wrong. When it arrived at our shop and we set it up, I was amazed at the versatility and power packed into this small fame. It has everything you need to mix in a front of house or monitor position.

The software update is extremely well thought out. It has made it so that everything you need can, quite literally, be in front of you. We routinely do audio for concerts and events where space is at a premium or the client wants to reduce the impact of the mixing positions. I cannot think of another compact console with the sheer mixing power of the S6L-16C. It may not be as flashy as its big brothers in the S6L line, but it holds its own in virtually every way.”

Brett Morgan – production manager, engineer, Performance Audio

Avid VENUE | S6L-16C

Rob McWhorter

So there I was on Day One, and made the trek to the ASCAP Café to meet with Rob McWhorter, who among other duties mixes FOH for Lindsey Stirling. Rob has overseen production at this venue during the festival for the past 17 years, along with Greg Downs, owner of Pale Horse Sound Studios. Rob is handling FOH on an S6L-32D and Greg is going to mix monitors on the S6L-16C. To my knowledge, this was the first use of S6L-16C for real world events in the US. Today, there would be five performances, including The Dumes, Patrick Martin, Judith Owen, Beulahbelle, and Everlast.

Tony Cooper mixing Everlast

“This desk sounds amazing—it brought an entirely fresh nuance to the stage mixes. The flexibility is mind blowing as I was able to configure mix setups individually to each artist. Being new to the S6L I found it a complete joy to customize every bit to exactly how I wanted the desk laid out, while user layouts made sound checks and sets for five acts a day super easy. I loved how easy it was to share a stage rack. Setup was a breeze and tear down was so quick and easy I kept thinking I must have forgot something!”

Greg Downs – engineer, producer, owner of Pale Horse Sound Studios

Greg Downs

Once Everlast wraps up their set, I head over to see Eric Stoddard and Jeremy Cornwall from Performance Audio at the Acura Festival Village; a massive tent purpose built for the festival. There are tents setup in multiple locations to house speaking engagements and performances. Eric and Jeremy are working with a Profile at FOH and an SC48 at monitors. Avid products made an excellent showing this year with John Anderson texting me on load-in day exclaiming, “Holy Avid. Just occurred to me how many (Avid) systems (being used) tomorrow!” After the Acura tent I was going to head over to the Park City Live venue where they had a Profile at FOH and SC48 at monitors, but as the temperature dropped and crowds increased, I decided it was time to pack it in for the night. I’ve seen those consoles a few times 🙂

Acura Festival Village

On Saturday the 26th, I checked in with Rob and Greg to see how things were going, and now I’m heading further up the mountain to the Empire Canyon Lodge, where Salt Lake City-based Poll Sound is providing a VENUE | S6L-24D system sub-rented from Performance Audio for the Counting Crows monitor position. I arrive an hour after load-in is scheduled, hoping to miss some of the fun, but weather and traffic was anything but forgiving. Setup is about an hour behind schedule, but they pull it together and get everything ready in time for soundcheck. The band rehearses for a bit and the show goes great.

S6L-24D used to mix the Counting Crows at the Empire Canyon Lodge

It was nice to see our older desks still being used and the adoption of our new S6L platform doing so well. The only S6L console not on display this weekend was Performance Audio’s S6L-24C, but I learned from John that they used the Stage 64 from that system to accommodate the inputs required for the Counting Crows gig—a perfect example of why the whole S6L Unified Platform of 100% hardware, software, and show file compatibility is so compelling to rental companies like Performance! And the 32D/16C setup remained at the ASCAP Café for the next seven days, and were used to mix over forty acts by the end of the festival!

Jeremy Cornwall from Performance Audio

My words of wisdom to anyone attending the festival for the first time, expect to wait in lines for absolutely everything! As you can imagine, a town of this size is not well equipped to handle the influx of people. However, amazingly, they do it year-after-year with great success.

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 Supports Breathtaking Production at Oslo’s Spektrum Arena

Karpe are Hip Hop superstars in Norway. They have built a reputation for being one of the most active live bands in the country, and are also well known for their collaborations with a great number of other Norwegian artists like Definite, OnklP, RSP, Apollo, DJ Don Martin, Emire, Jesse Jones, and Vinni among others.

Their three sold out shows at Oslo’s Spektrum Arena iwere not just a triumph for Magdi, Chirag, and their regular band, Something Sally and DJ Marius Thingvald—it was also a powerful demonstration from Norwegian equipment suppliers. The artist that took audio and light production to a completely new level was Norwegian rap duo, who in the course of 15 years, have grown from playing a Hammersborg leisure club to selling out three packed shows at the Oslo Spektrum Arena, supported by a crew of about 350 people working 24/7 for a whole week.

Lydkjelleren, in collaboration with Avid live sound partner, Benum, provided a huge Adamson rig with additional rear speakers for surround effects. Lydkjelleren / Benum also provided Shure wireless systems for microphones, instruments and in-ear, as well as four Avid VENUE | S6L consoles, with dual layouts for both FOH and monitors, so that if anyone in the audience did throw beer onto one of the mixers, the other would seamlessly take over.

We had the chance to talk to FOH mixer, Espen Alexander Husby, to get his perspective on the shows and mixing with the VENUE | S6L.

FOH Mixer Espen Alexander Husby at the Avid VENUE | S6L console

Why did you actually use four S6Ls?

We had two S6Ls on FOH and two on monitors. The reason why was just because the production directors decided to run everything for these shows extremely safely. So, to make sure that we could carry on seamlessly if anything happened they wanted to have full backup for every crucial part of the production. But apart from being the backup I used the second FOH S6L for recording the show.

 

Was this decision based on some trust issues regarding reliability of gear?

No, not at all. We all are very happy with the stability of our systems. It was just the guys in the band who thought, “Well, it is in the budget so let’s play it ultra-safe.” And then, “Hey, look at the pictures—it also looks cool!” (Laughs).

 

How many signals did you work with?

In total I ended up with 64 channels of signals from the stage. The band had an acoustic drum kit on stage with quite a lot of additional trigger and sample modules to get some of the ultra-fat hip hop/RnB sounds going. Then there was electric bass, a double bass for one song, guitar amp, and a bunch of keyboards. They also had a DJ, a couple of backing tracks, some FX and scratching, and of course a lot of vocal lines. The two main singers in total ended up with 5 hand held mics, with two of these mics going directly into Autotune just for the typical autotune sound effect.

 

How do you approach the mix with the S6L?

I have been touring with the S3L-X for quite some time. I had one of the first units that came to Norway and I’ve been working with it around the world for the past 2 – 3 years. I love it because I can even take it on the plane. That is not possible with the S6L – unfortunately. The transition to the S6L was no problem at all because I could simply open my show files and seamlessly proceed with them on the S6L. All my settings and programming remained unchanged except for some McDSP plug-ins, that I have on my S3L-X which I just substituted with internal S6L processors. There was no need for external outboard at all. We were running the show entirely in the box.

The entire show was mixed completely in the box. No additional outboard gear was used at all.

Can you tell us which plug-ins you use?

I use the MCDSP AE400. I have it basically on everything, on the Main-Out, the keyboards, the vocals, and the tracks. I also use the Pro Compressor on vocals, and I really like the Impact compressors on the drums.

Regarding the desk itself, what I really like on the S6L is [custom] Layouts, which is extremely convenient. You can have individual layouts for every song. I really like the fact that I can have all the important stuff for each song in front of me at all times. It’s worth mentioning that I also use the surround option as we were running a quadrophonic PA for this event. To have all the effects returns on faders to feed the individual PA-towers is really fun. Together with the band I had the idea to do this, we had a 4-channel PA in the venue, which was a lot of speakers, and required quite an effort but it also was great to use this creatively.

Regarding the monitoring setup, the band is entirely on in-ears, only the DJ on stage uses a set of wedges. The stage is so wide and most of the time everybody performs in front of the PA anyways, so in-ears are the only suitable option for proper monitoring. We had the redundant two S6L setup for monitoring and we used two stage boxes for FOH as well as two stage boxes for monitors.

 

Some final thoughts regarding the S6L?

Well, it is definitely the best desk I have used so far. Nothing else has come close to it in terms of ease of use, flexibility and workflow. And the most important thing is that it sounds absolutely fantastic. The depth, the clarity – everything – it has so much headroom. It never squeezes anything together, plus there is always room more and more channels – it seems to be endless. A month ago, I was at the same venue with 91 channels and 50 people on stage and I had no problem at all separating the signals on the S6L. Absolutely amazing. It’s been a cool ride learning to mix on the S6L.

We also had the latest version of the VENUE software installed, so the support guys were able to show me some of the new features, which was very helpful. I am really looking forward to playing around with the software and the desk some more to learn a few new tricks and shortcuts.

“Well, it is definitely the best desk I have used so far. Nothing else has come close to it in terms of ease of use, flexibility and workflow. And the most important thing is that it sounds absolutely fantastic.”

—Espen Alexander Husby

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