As is the case for any computer-based product, a digital audio console is a system in a continual state of evolutionary flux. In my article from the December 2015 issue of FRONT of HOUSE, I presented my initial impressions of Avid’s VENUE S6L live console. In that “On the Digital Edge” discussion, I expressed great satisfaction with audio produced by this new system. From input to output, the 96k S6L is very powerful machine. However, due to its work-in-progress status, I chose to delay discussing many of the specific features and operations until more agility and refinement had been added to the console/computer system.
I also had questions about how easily and rapidly one could adapt to the completely redesigned control surface. However, since my initial exposure to the new Avid S6L console system, I have had the opportunity to spend quite a bit more hands-on time with the new control surface. I discovered that both the console’s interface and the functionality have significantly progressed since its initial release.
Avid has recently provided a 5.01 system update and will soon launch the more sweeping 5.1 system update. Among other upgrades, the 5.01 update supports Overview screen displays. On the large external LED monitor, a new tab labeled “Overview” has been added to the row of tabs at the top of that screen. Clicking “Overview” and then choosing “Inputs” will allow the user to display data from all of the console’s 192 inputs. Vertical bar displays provide level indication. Mute and Solo status are displayed on the Overview screen as well. Clicking “Outputs” will display similar useful information from all of the S6L’s 123 output buses.
I contacted Avid’s Sheldon Radford regarding the upcoming 5.1 upgrade, and he provided the following. There is some very compelling information in this quote.
The 5.1 release includes:
• Support for two AVB-192 network cards in the engine, which doubles I/O capacity to a whopping 192 in x 96 out (plus the console I/O, plus Pro Tools I/O — over 270 channels at 96 kHz)
• Spill Mode: Double press the attention key on any Aux Master, Group or VCA to spill the contents of that channel onto the desk.
• You can spill any master from anywhere on the desk. E.g., if you have VCAs or Groups as part of your layout, you can spill directly from there without needing to navigate layers.
• You can even spill via touch, directly form the center screen. This gives immediate access to any Aux, Group or VCA, even if they’re not on the desk’s top layer.
• Console-wide, parameter display is greatly improved.
OLEDs display more information regarding status (on versus off) and parameter control (what each knob and button does). This may sounds simple, but it’s a huge improvement. As an example, with the EQ section shown in Fig.1, you can see band on/off, shelf/bell on outer bands, a clear indication what the various Sel switches do.
I was pleased that Avid has appreciably upgraded how the OLEDs display information in the three Channel Knob Modules — the 8 x 4 clusters of rotary encoders positioned directly above each group of eight input faders. Console data for equalization, dynamics and aux sends is presented more clearly with greatly improved graphics and labeling. The small OLED screens above each rotary encoder are noticeably brighter as well. Nearly all of my operational and visual concerns regarding the step-by-step functioning of these encoder pods have been successfully resolved by the 5.1 update.
Thrills and Spills
I am also excited that Spill Mode has now been included in the software package. In anticipation of this particular upgrade, I created a single custom layer for the James Taylor show using the Layout function. Because any input, output or VCA can be assigned to any of the 32-fader strip locations on the control surface, I was able to condense a three-layer-deep input list entirely onto the top level of the desk.
For example, I assigned Kick In, Kick Out, Snare Top, Snare Bottom, Hi-Hat and Cowbell to the first six individual strips. The relative volume relationship of these inputs is constantly changing because Steve Gadd is such a dynamic and expressive drummer. These faders often need to be moved throughout each song. But the next strip is a VCA controlling the level of the four toms, the ride cymbal and the two overheads. If I need to change the relative levels of these inputs, they can be spilled out, modified and then quickly re-hidden. The eighth fader in that first bank is the overall drum master VCA. Using Spill, 13 individual inputs can take up just eight faders of surface real estate.
By locating only critical inputs on individual strips and hiding others behind VCA masters, it’s possible to mix a 48-input band and necessary effects on just 32 fader handles by using Spill and 16 carefully populated VCA masters. Because all banking control of inputs, outputs and VCAs is now located in the Master Control Module along with the custom layer function, it’s an easy task to toggle between the fully banked setup with all the individual inputs, effects returns and VCAs appearing in their actual locations (Home button) and the minimalized custom surface (Layout button). It is my understanding that the software allows individual snapshots to contain a custom layer. It would then be possible to have different inputs rising to the top level for each song or varying band configuration.
Third Party Enhancements
Since I was first introduced to the S6L a few months ago, possibly the biggest development has been the proliferation of third-party AAX plug-ins available for the VENUE format. Back in October 2015, only Avid plug-ins were ready to use with the S6L, although Waves (waves.com) plug-ins could be accessible via Soundgrid.
McDSP was the first to make its formidable AAX products available to VENUE users. A fantastic inventory of equalizers, dynamic equalizers, compressors, channel strips and effects processors can be found at mcdsp.com.
Sonnox (sonnox.com) has assembled six AAX plug-ins into LIVE, a bundle for use with the S6L. These are all part of the Sonnox Oxford family and include extremely powerful tools for dynamics control, equalization, modulation effects and reverb. The Oxford family of products are all top of the line software and produce beautiful audio results.
Crane Song’s (cranesong.com) harmonic processors are now VENUE-compatible in AAX format. These include Phoenix II, Peacock and RA plug-ins to bring that legendary Crane Song sparkle to any mix. Crane Song has been a staple for monitor engineers seeking to add subtle character and nuance to in-ear mixes for many years. Having these fantastic tools available in AAX for VENUE is fantastic addition to everyone’s plug-in library.
Finally, Plugin Alliance (plugin-alliance.com) products are now ready for use on the S6L. The VENUE | AAX Bundle V1.0 features five of the most live sound tools including Brainworx bx_saturator v2; Elysia mpressor; Maag Audio EQ4; SPL De-essers; and SPL’s Transient Designer Plus.
The Avid VENUE S6L project is moving forward in many powerful and compelling ways.
Safe Travels!