Avid 9935-72564-00 Venue Stage 32 I/O Rack with 3-Year User Manual

Avid VENUE | S6L System Guide

and Avid VENUE | Software 6.1

Legal Notices

For a current and complete list of Avid trademarks visit:

http://www.avid.com/legal/trademarks-and-other-notices

Bonjour, the Bonjour logo, and the Bonjour symbol are trademarks of Apple Computer, Inc.

Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries.

This product may be protected by one or more U.S. and non-U.S. patents. Details are available at

www.avid.com/patents.

Product features, specifications, system requirements, and availability are subject to change without notice.

Guide Part Number 9329-66014-00 REV A 02/19

Safety Compliance

Safety Statement: (M/N: S6L16, S6L24(all), S6L32, Local 16, Stage 16, Stage 32 and Stage 64)

This equipment has been tested to comply with USA and Canadian safety certification in accordance with the specifications of UL Standards: UL 60065 7th Ed.,

2013-07-24, CAN/CSA C22.2 No. 60065-03, 1st Ed, +A1:2006 +A2:2012, EN 60065:2002 +A1:2006 +A11:2008 +A2:2010 +A12:2011, IEC 60065:2001 +A1:2005

+A2:2010.

Avid Technology Inc., has been authorized to apply the appropriate NRTL mark on its compliant equipment.

Safety Statement: (M/N: E6L(all))

This equipment has been tested to comply with USA and Canadian safety certification in accordance with the specifications of UL Standards: UL 60950-1 2nd edition,

CAN/CSA C22.2 No. 60950-1-07; 2nd edition, EN 60950-1:2006 /A12:2011, IEC 60950-1:2005+ A1:2009 2nd edition.

Avid Technology Inc., has been authorized to apply the appropriate NRTL mark on its compliant equipment.

Power Safety Input Rating

S6L16: AC~100-240V, 50-60Hz, 4.0A per inlet

S6L24(all): AC~100-240V, 50-60Hz, 4.0A per inlet

S6L32: AC~100-240V, 50-60Hz, 5.0A per inlet

E6L(all): AC~100-240V, 50-60Hz, 5.0A per inlet

Local 16: AC~100-240V, 50-60Hz, 0.6A per inlet

Stage 16: AC~100-240V, 50-60Hz, 0.6A

Stage 32: AC~100-240V, 50-60Hz, 3.65A per inlet

Stage 64: AC~100-240V, 50-60Hz, 3.65A per inlet

Warning

Important Safety Instructions for E6L

1) User should make sure that all the thumb screws are secured by a tool.

2) The E6L system can hold the following cards:

• (3) AVB Cards

• (4) HDX Cards

• (4) MADI-192 MADI Option Cards

• (8) DIMMs of RAM.

User should not install additional cards.

Important Safety Instructions

1) Read these instructions.

2) Keep these instructions.

3) Heed all warnings.

4) Follow all instructions.

5) Do not use this equipment near water.

6) Clean only with dry cloth.

7) Do not block any ventilation openings. Install in accordance with the manufacturer's instructions.

8) Do not install near any heat sources such as radiators, heat registers, stoves, or other equipment (including amplifiers) that produce heat.

10) Protect power cords from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the equipment.

11) Only use attachments/accessories specified by the manufacturer.

12) For products that are not rack-mountable: Use only with a cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the equipment. When a cart

is used, use caution when moving the cart/equipment combination to avoid injury from tip-over.

13) Unplug this equipment during lightning storms or when unused for long periods of time.

14) Refer all servicing to qualified service personnel. Servicing is required when the equipment has been damaged in any way, such as power-supply cord or plug is dam-

aged, liquid has been spilled or objects have fallen into the equipment, the equipment has been exposed to rain or moisture, does not operate normally, or has been

dropped.

15) For products that are a Mains powered device:

The equipment shall not be exposed to dripping or splashing and no objects filled with liquids (such as vases) shall be placed on the equipment.

Warning! To reduce the risk of fire or electric shock, do not expose this equipment to rain or moisture.

Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug

has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult

an electrician for replacement of the obsolete outlet.



16) For products containing a lithium battery:

Warning! Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type.

17) For products with a power switch:

It should remain accessible after installation.

18) The equipment shall be used at a maximum ambient temperature of 40° C and maximum altitude of 2000m.

19) This unit may not ship with a power supply cord set. A qualified person must provide for use with this unit, an appropriate, approved power supply cord set which is in

compliance with the end use country requirements and has a minimum cross-sectional area of 1.0mm

20) For products with more than one power cord:

CAUTION: This unit has more than one power supply cord. Disconnect two power supply cords before servicing to avoid electrical shock.

ATTENTION: Cet appareil comporte plus d'un cordon d'alimentation. Afin de prévenir les chocs électriques, débrancher les deux cordons d'alimentation avant de faire le

dépannage.

21) For products with an operator-accessible fuse:

CAUTION: For continued protection against risk of fire, replace only with same type and rating of fuse.

ATTENTION: Pour ne pas compromettre la protection contre les risques d'incendie, remplacer par un fusible de même type et de même caractéristiques nominales.

22) For products with Fiber optics:

Warning! Fiber optic equipment can emit laser or infrared light that can injure your eyes. Never look into an optical fiber or connector port.

Always assume that fiber optic cables are connected to a light source.



VENUE | S6L System Guide v

Part I Overview

Introduction to the VENUE | S6L System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Installation and Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

S6L System Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

S6L Control Surface Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

E6L Engine Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Stage 64 I/O Rack Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Stage 32 I/O Rack Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Stage 16 Remote IO Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Local 16 I/O Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

What’s Included . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Expansion Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Operational Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Cabling Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Activation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Conventions Used in This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

S6L Control Surface Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

S6L Control Surface Top Panel Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Fader Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Channel Knob Modules (CKM). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Channel Touch Module (CTM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Master Live Module (MLM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Master Touch Screen (MTS). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

S6L Control Surface Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

E6L Engine Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

E6L Cards and Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

E6L Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

E6L Back Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Stage and Local I/O Rack Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Stage 64 and Stage 32 I/O Card Features and Capabilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Stage 64 Front Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Making Stage I/O Unit Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Stage 64 Controller Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Using MADI Outs on Stage 64 and Stage 32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Contents

VENUE | S6L System Guide vi

Part II Using S6L

Configuring System Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Powering the System Up and Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Confirming System Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Pairing the E6L and S6L. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Enabling Config Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Assigning Stage I/O Units . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Assigning Local 16. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Setting the System Clock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Configuring Mains and Mix Buses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Managing Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

How to Proceed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Banking Channels on the S6L Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Channel Banking Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Banking a Combination of Inputs and Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Banking Only User Layouts, VCAs, Inputs, or Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Spill Mode for Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

User Layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Bank Safing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Selecting and Attentioning Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Attentioning Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Attention on Fader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Selecting/Attentioning Multiple Channels (Multi-Select) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Adjusting Channel Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Configuring and Patching Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Assigning Channels to Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Assign VCAs and Mute Groups from Channel Control Encoders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Adjusting Input Parameters on the Control Surface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Adjusting EQ on the Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Adjusting Dynamics on the Control Surface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Adjusting Plug-Ins on the Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Using the CHANNEL Function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Flipping Parameters to Faders (Flip to Faders Mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Encoder Assign Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Working with Mains and VCAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Working with Mains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Working with VCAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Working with Aux Sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Adjusting Aux Sends in Channel Control Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Adjusting Aux Sends in Channel Strip Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Adjusting Aux Sends on Faders (Sends on Faders Mode) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

VENUE | S6L System Guide vii

VCAs Trim Aux Sends in Sends on Faders Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Adjusting Aux Sends on the External Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Classifying Auxes for Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Matrix Mixers Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Assigning Input Sources to Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Adjusting Matrix Mixer Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Delay Compensation with Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Adjusting Matrix Mixer Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Snapshot Data and Parameters for Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Muting and Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Muting Individual Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Snapshot Data and Parameters for Mute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Soloing and the Monitor Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Configuring the Monitor Buses and Solo Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Adjusting Monitor Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Soloing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Using the Headphone Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Part III External VENUE Software Screen

External VENUE Software Screen Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Viewing Pages and Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Overview of Software Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Banner Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Type Text Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Overview, Inputs, and Outputs Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Navigating the Overview, Inputs, Outputs Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Attentioning Channels from the External Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Adjusting Parameters on the External Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Working with EQ and Dynamics on the External Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Input Direct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Copying and Pasting Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Configuring Channels on the External Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Inserting Plug-Ins on Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Input Channel, EQ, and Dynamics Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Assigning Channels to Buses and VCAs on the External Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Managing Output Channel Assignments (Members) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Color-Coding Channels from the External Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Filing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Creating Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Loading a Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

VENUE | S6L System Guide viii

Working with Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Transferring Settings, Shows and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Import Snapshots and Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Undoing Changes Using the History Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Snapshots Page Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Creating Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Hierarchical Snapshots (Parent and Child Snapshots) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Momentary Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Snapshot Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Recalling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Managing Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Making Changes to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Preview Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Adding MIDI and Plug-In Data to Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Snapshot Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

User Aux Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Recall Safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Automation Safing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Snapshot Data Types and Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Accessing the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Overview of the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Patching Input Sources to Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Patching Output Channels to Hardware Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Patching Direct Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Unpatching and Clearing Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Multiple Input and Output Patching. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Warning When Stealing Inputs or Outputs in the Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Naming Channels from the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Type Text Search . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Patch List Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Plug-Ins Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Installing and Authorizing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Plug-in Version Checker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277

Plug-In Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Rack Slots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Routing Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Adjusting Plug-Ins on the External Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Plug-In Presets and Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Plug-In DSP Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Plug-In Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Plug-In Latency and Processing Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Initializing the Plug-In Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

VENUE | S6L System Guide ix

Tap Tempo for Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

WSG-HD Waves SoundGrid Option Card and Waves Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

The Events Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Creating Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Events Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Creating Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Creating Actions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Testing Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Resetting Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Snapshots and Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318

Default Settings, Templates and Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Trigger Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Action Types. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Examples of Logical Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Pickoffs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Misc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Interaction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Part IV Recording and Playback

Pro Tools Recording and Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Pro Tools Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Part V Reference

Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Clock Synchronization Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Time Code Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Synchronizing External Devices using Word Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Synchronizing using AES/ADAT or MADI Clock. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Time Code. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Connecting and Using the MADI-192 MADI Option Card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Making Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Using MADI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Enabling Virtual Soundcheck Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Performing a Virtual Soundcheck using MADI-192 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Enabling Redundant Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Using MADI for Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

VENUE | S6L System Guide x

Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Connecting External Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Assigning Hardware Inserts to Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

Activating and Bypassing Hardware Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

Setting the Hardware Insert Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

GPI Port Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

GPI Input Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

GPI Output Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

GPI Wiring Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Problem Solving. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Restarting Your System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Resetting Hardware Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Resetting Channel Touch Modules (CTMs). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Offline or Unavailable Devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Hardware Monitoring Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

E6L Engine Emergency Shutdown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Utility Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Resetting the Plug-In Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Using the System Restore Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Updating HDX-192 DSP Card Firmware. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Updating MADI Card Firmware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Configuring S6L Master Touch Screen (MTS) and External Monitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

LED Brightness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Part VI Specifications

Mechanical Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

S6L-16C Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

S6L-24C Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

S6L-24/24D Control Surface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

S6L-32D Control Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

E6L Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Stage 64 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Stage 32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399

Stage 16 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

Local 16 I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

S6L System Components LED Codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Replacing S6L and E6L PSUs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

S6L Secure USB Port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Making Fiber-Optic Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Signal Flow Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Input Channel Signal Flow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

VENUE | S6L System Guide xi

Output Channel Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Part VII Appendices

Environmental Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

EMC (Electromagnetic Compliance) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Part I: Overview

Introduction to the VENUE | S6L System 1

Introduction to the VENUE | S6L System

Welcome to the VENUE | S6L digital live mixing system from Avid

. The S6L system includes the VENUE | S6L control surface,

the VENUE | E6L engine, up to six supported Stage I/O units: VENUE | Stage 64 I/O, VENUE | Stage 32 I/O, or VENUE | Stage

16 I/O, and up to two Local 16 I/O units. Together, these components provide a modular, scalable, and high-fidelity live mixing

solution using ultra-reliable and low-latency Ethernet AVB audio network connections.

The S6L-32D, 24D, and 24C control surfaces feature high-resolution touch screens and channel displays, providing unmatched vi-

sual feedback and tactile control. The S6L system also uses the same intuitive and powerful VENUE software used by all other sys-

tems in the Avid live systems family, providing Show file portability between Avid live systems. Other features include direct

Pro Tools

connectivity and interoperability, support for AAX DSP plug-ins from Avid and our many development partners.

Remote control is available using Avid VENUE | On-Stage app, VENUE Function Pad app, and ECx Ethernet Control software.

Avid VENUE | On-Stage app

for iOS lets performing artists remotely control their personal mix with access to Aux master level,

and level and pan of each member channel feeding a selected Aux monitor mix. VENUE | On-Stage can also adjust Mains level,

with control of channel level, pan (for mono), or balance and width (for stereo), and mute for each channel assigned to Mains. Ac-

cess to mixes can be password protected. For more information, see the VENUE On-Stage Guide.pdf.

Avid VENUE | Function app

For iOS, lets engineers remotely access Function switch assignments defined via the Events page,

such as being able to remotely control the Pro Tools transport to cue and play back material while checking on-stage monitor mixes.

For more information, see the VENUE Function Pad Guide.pdf.

ECx Ethernet Control

lets you remotely control your system over a wired or wireless Ethernet network. For more information see

the ECx Ethernet Control Guide.

Installation and Setup

For complete hardware and software installation instructions, see the VENUE S6L Installation Guide.pdf, available for download

from your Avid account and from the S6L Documentation article on our Knowledge Base.

After activating, updating, and setting up your system, return to this guide for S6L features, capabilities, and operating information.

S6L System Features

S6L System Processing

• Up to 192 input processing channels, each with built-in High- and Low-Pass Filters, Dynamics and 4-band fully parametric

EQ processors

• Up to 123 output processing channels, each with a built-in Compressor/Limiter and 7-band fully parametric EQ

• 32 assignable 31-band Graphic EQs

• Up to 99 mix buses total (96 mix buses plus Main L-R, C/Mono), up to 24 mono stereo-linkable Matrixes, and up to

32 VCAs

• Up to 200 plug-in rack slots for VENUE-compatible 64-bit AAX DSP plug-ins

Introduction to the VENUE | S6L System 2

S6L System Recording and Playback Features

• 128 channels of recording and playback (64 in x 64 out) with a compatible Pro Tools system, including true Virtual Sound-

check capability. Or with two compatible Pro Tools systems, one recorder (up to 128 channels) and one record/playback sys-

tem.

• VENUE Link, providing Pro Tools and VENUE interoperability and interconnection, including Pro Tools Transport control

from the S6L control surface

• Dual MADI splits of Stage inputs on a per Stage 64 and/or Stage 32 basis

S6L Control Surface Features

The S6L control surface provides system controls, mix position audio I/O, and control and utility connections. The S6L control sur-

face is available in three models, the S6L-32D, S6L-24D, and the S6L-24C, which provide the following features and capabilities:

For complete system requirements and a list of qualified computers, operating systems, and third-party devices, visit

www.avid.com/S6Lsupport.

S6L-32D S6L-24D S6L-24C S6L-16C

Integrated Touch

Screens

1 Master Touch Screen,

3 Channel Touch Modules

1 Master Touch Screen,

2 Channel Touch Modules

1 Master Touch Screen

n/a

Faders

32 channel strips + 2 24 channel strips + 2 24 channel strips + 2

16 channel strips + 2

Channel Knob

Modules (CKM)

3 CKMs, each with 32

color-coded encoders, 32

high-resolution displays,

and tri-color indicators

2 CKMs, each with 32

color-coded encoders, 32

high-resolution displays,

and tri-color indicators

1 CKM with 32

color-coded encoders, 32

high-resolution displays,

and tri-color indicators

1 CKM with 32

color-coded encoders, 32

high-resolution displays,

and tri-color indicators

Master Live

Module

2 TFT displays with Soft Keys; Touch and Turn assignable encoder; 2 assignable faders;

monitoring, layout and snapshot controls; transport controls and function buttons

Metering

30-segment meters per channel, with pre- and post-fade metering options; Nominal indicator,

Expander/Gate status and Compressor/Limiter gain reduction meters

Analog inputs

8 XLR mic/line inputs with 48V and signal present LEDs

1 XLR mic/line input

Analog outputs

8 XLR outputs with mute and signal present LEDs

2 XLR outputs

Digital inputs

4 pairs of XLR stereo AES/EBU (8 channels total)

n/a

Digital outputs

4 pairs of XLR stereo AES/EBU (8 channels total)

n/a

Headphone

outputs

2 independent 1/4-inch TRS stereo headphone jacks

1 1/4-inch TRS stereo

headphone jack

Ancillary I/O

DVI-D video out, 4 USB 2.0 (2 rear, 1 front, 1 internal), ECx Ethernet port for wired/wireless remote control, GPIO

(8 in/8 out), 2 footswitch, Linear Time Code input, MIDI I/O

AVB Audio

Network ports

4, each providing etherCON (copper) or SFP (fiber optic) connections

Power supply

2 (1+1) redundant, internal hot-swappable PSUs

Dual redundant, internal

Introduction to the VENUE | S6L System 3

S6L-32D

S6L-24D

S6L-24C

VENUE | S6L-32D

VENUE | S6L-24D

VENUE | S6L-24C

Introduction to the VENUE | S6L System 4

S6L-16C

Lights (S6L-24C and S6L-16C)

The S6L-24C provides 2x connectors (3-pin XLR) on the top panel for connecting goose-neck LED console lamps. Note that only

LED lights are supported on the S6L-24C. S6L-32D and S6L-24D control surfaces provide a built-in Light Bar to illuminate the

surface.

VENUE | S6L-16C

Introduction to the VENUE | S6L System 5

E6L Engine Features

The E6L engine provides the real-time processing engine for input and output channels, and Pro Tools | HDX DSP processing

card(s) for AAX DSP plug-ins. The E6L engine also provides connections for synchronization, control and utility in a 5U

rack-mountable enclosure. The E6L-192, E6L-144, and the E6L-112 provide the following features and capabilities in their basic

configuration:

E6L-192 E6L-144 E6L-112

Sample rates

96 kHz 96 kHz 96 kHz

Input channels

192 144 112

Input processing (per channel)

HPF, LPF, 4-band PEQ, Expander/Gate, Compressor/Limiter, Delay, 4 plug-in inserts,

hardware insert

Mix buses

96 + L-R, C/Mono 64 + L-R, C/Mono 48 + L-R, C/Mono

Output processing (per channel)

7-band PEQ, Compressor/Limiter, Delay, 4 plug-in inserts, hardware inserts

Matrix

24 x 24 16 x 16 16 x 16

VCAs

32 24 24

Monitor buses

2 stereo, each with independent control and routing

Graphic EQs (31-band)

Plug-in support

1 x HDX-192 DSP card,

expandable to up to four

HDX cards

1 x HDX-192 DSP card,

expandable to up to two

HDX cards

1 x HDX-192 DSP card,

expandable up to two

HDX cards

Plug-in slots

200 125 100

Pro Tools Recording/Playback

Record/play back up to 128 audio tracks via Ethernet AVB

AVB Audio Network Ports

2, each providing etherCON (copper) or SFP (fiber optic) connections

(Some base configurations with Stage 16s include an additional AVB-192 card)

I/O Sharing

Supports combinations of Stage 64, Stage 32s, and Stage 16 racks, up to 192 inputs total

(requires two AVB-192 Ethernet AVB Network Cards to share I/O)

Word Clock I/O

Input and Output, BNC, 75 Ohm coaxial

USB ports

4 USB 2.0 ports (2 front, 2 back)

Power supply

3 (2+1) redundant, internal hot-swappable PSUs

Dual redundant, internal

Rack spaces

VENUE E6L

Introduction to the VENUE | S6L System 6

Stage 64 I/O Rack Features

Stage 64 provides remote stage I/O for S6L systems in a 10U rack-mountable enclosure. The S6L system supports redundant audio

network connections to up to three Stage 64 I/O racks. Audio network connections are made using supported copper Ethernet ca-

bles and/or fiber-optic cables (see Audio Network Connections).

I/O Rack Stage 64

Maximum I/O

64 input channels, 32 output channels

I/O card slots

12 (8 for input cards, 4 for output cards)

Sample rates

96 kHz

AVB Audio Network Ports

2, each providing etherCON (copper) or SFP (fiber optic) connections

Maximum cable length

Copper: 100 meters (328 feet); Fiber: 500 meters (1,640.4 feet)

MADI Outs

2 BNC; digital split outputs of Stage 64 inputs at 48 or 96 kHz; supports 64 channel MADI formats

Headphone confidence monitor

1/4-inch TRS stereo headphone jack with volume control; display for channel selection

Word Clock Out

BNC, 75 Ohm coaxial

Power supply

Dual redundant internal PSUs

Rack spaces

10U

Stage 64 I/O Rack front panel (48 x 8 configuration shown)

Introduction to the VENUE | S6L System 7

Stage 32 I/O Rack Features

Stage 32 provides remote stage I/O for S6L systems in a 5U rack-mountable enclosure. Up to four Stage 32 units can be connected

on supported systems. Audio snake connection are made using supported Ethernet cables (see Audio Network Connections).

The following table lists Stage 32 features and specifications:

Stage 32 requires 2x AVB-192 Network Cards in the E6L engine.

Stage 32 I/O

I/O Rack Stage 32

Maximum I/O

32 input/output channels @ 96 kHz with one Stage 32 rack

I/O card slots

Sample rates

96 kHz

AVB Audio Network Ports

2, each providing etherCON (copper) or SFP (fiber optic) connections

Maximum cable length

Copper: 100 meters (328 feet);

Fiber: 500 meters (1,640.4 feet) for Multi-Mode, 10,000 meters for Single Mode Fiber

MADI Outs

Single MADI output offers direct split of up to 32 inputs

Headphone confidence monitor

n/a

Word Clock Out

n/a

Power supply

Dual redundant internal PSUs

Rack spaces

Introduction to the VENUE | S6L System 8

Stage 16 Remote IO Features

Stage 16 provides remote stage I/O for S6L systems in a 4U rack-mountable enclosure. Up to four Stage 16 boxes can be connected

on supported systems. Audio snake connection are made using supported Ethernet cables (see Audio Network Connections).

Stage 16 requires 2x AVB-192 Network Cards in the E6L engine.

I/O Rack Stage 16

Maximum I/O

16 analog input channels, 8 analog output channels, 4 AES digital output channels (on two

stereo connectors)

Sample rates

96 kHz (with S6L systems), 48 kHz (with S3L-X/S3L systems)

AVB Audio Network Ports

2 Neutrik etherCON RJ-45 Ethernet Network ports

Maximum cable length

100 meters (328 feet)

Power supply

Internal universal PSU (100V to 240V nominal 50–60 Hz) accepting standard IEC AC power

cables

Rack spaces

Introduction to the VENUE | S6L System 9

Local 16 I/O Features

Local 16 lets you expand your local I/O capabilities—or add primary local I/O if mixing on the S6L-16C control surface—with this

compact I/O rack. Features include:

• 8 XLR mic/line inputs, 8 XLR outputs, 4 pairs of XLR stereo AES/EBU inputs (8 channels total), 4 pairs of XLR stereo

AES/EBU outputs (8 channels total)

•3U rack

• Up to two Local 16 units can be connected on the local (console) S6L AVB Network ring when using S6L-16C. A single

Local 16 can be used with other S6L systems.

• Audio network connections are made using supported copper Ethernet cables and/or fiber-optic cables

• Local 16 connects to the control surface network ring (Ring 2)

The following table lists Local 16 features and specifications:

What’s Included

See the VENUE S6L Installation Guide.pdf for a complete list of what’s included with each system, additional required items (re-

quired but not included), and optional items.

Local 16 requires 2x AVB-192 Network Cards in the E6L engine.

I/O Rack Local 16

Maximum I/O

8 XLR mic/line inputs, 8 XLR outputs, 4 pairs of XLR stereo AES/EBU inputs (8 channels total),

4 pairs of XLR stereo AES/EBU outputs (8 channels total) @ 96 kHz with one Local 16 rack

I/O card slots

n/a

Sample rates

96 kHz

AVB Audio Network Ports

2, each providing etherCON (copper) or SFP (fiber optic) connections

Maximum cable length

Copper: 100 meters (328 feet);

Fiber: 500 meters (1,640.4 feet) for Multi-Mode, 10,000 meters for Single Mode Fiber

MADI Outs

n/a

Headphone confidence monitor

n/a

Word Clock Out

n/a

Power supply

Dual redundant internal PSUs

Rack spaces

Local 16 I/O

Introduction to the VENUE | S6L System 10

Expansion Options

S6L systems can be expanded to add analog or digital IO, plug-in processing capability, and connectivity by adding any of the fol-

lowing options.

Stage 64 Expansion

You can expand the number of input and output channels by adding any of the following cards to a Stage 64, up to the maximum

of 8 input cards and 4 output cards:

SRI-192 Analog Input Card

SRO-192 Analog Output Card

DSI-192 Digital Input Card

DSO-192 Digital Output Card

DNT-192 Network Card

Up to three Stage 64s can be connected simultaneously (requires dual AVB-192 Network Cards in the E6L Engine). For require-

ments and connection diagrams see the VENUE S6L Installation Guide.pdf.

Stage 32

Stage 32 lets you connect up to 32 analog, digital, and/or Dante inputs and outputs in a rack that offers maximum I/O flexibility in

a smaller footprint for stage or remote I/O needs. Each Stage 32 supports up to a maximum 32 channels of inputs or outputs or a

combination of both. You can customize Stage 32 with any of the same analog I/O, digital I/O, and Dante card options available

for Stage 64, including SRI-192 Analog Input cards, SRO-192 Analog Output cards, DSI-192 Digital Input cards, DSO-192 Digital

Output cards, and DNT-192 Dante Option cards.

Up to four Stage 32 units can be networked at once (requires dual AVB-192 Network Cards in the E6L engine), and you can com-

bine Stage 32 with other VENUE S6L I/O units up to the maximum capacity of your system configuration. For requirements and

connection diagrams see the VENUE S6L Installation Guide.pdf.

Stage 16

Stage 16s can be integrated into S6L systems (requires dual AVB-192 Network Cards in the E6L Engine). For supported config-

urations, requirements, and connection diagrams see the VENUE S6L Installation Guide.pdf.

Local 16

Local 16 can be integrated into S6L systems (requires dual AVB-192 Network Cards in the E6L Engine). Up to two Local 16s can

be used with S6L-16C; other systems support one Local 16.

E6L Expansion

You can expand processing, connectivity, and IO capabilities by adding any of the following cards to an E6L engine.

• HDX-192 DSP Expansion Cards

• AVB-192 Network Card

• MADI-192 MADI Option Card

• WSG-HD Waves SoundGridOption Cards

S6L Control Surface Expansion

S6L-24 systems can be upgraded to S6L-24D by adding Channel Touch Modules. Contact your VENUE reseller for more infor-

mation.

Introduction to the VENUE | S6L System 11

Operational Requirements

Temperature and Ventilation

S6L system devices should be operated away from heat sources and with adequate ventilation.

Storage

S6L system devices should be stored and transported at temperatures not lower than 0 degrees F (–18 degrees C) and not exceeding

140 degrees F (60 degrees C).

Operation

S6L system devices should be operated at temperatures not lower than 40 degrees F (4 degrees C) and not exceeding 104 degrees F

(40 degrees C).

During operation, the left and right end caps on the back of the S6L control surface, the front and back of the E6L engine, and the

fans on the back of the Stage 64 should be exposed to ambient air. Do not block the ventilation holes on any S6L system component.

Do not operate in direct sunlight or at extreme ambient temperatures.

Water and Moisture

S6L system devices should be operated away from sources of direct moisture and should be kept clear of liquids that might spill

into the units. If condensation is present on the unit, leave the unit to dry in ambient air for at least one hour before powering the

unit on.

Cleaning and Maintenance

 Use a dry cloth to clean the surfaces of the S6L components. Do not apply any cleaning solutions, spray cleaners, or abrasives

to the surfaces of the components.

 Use a microfiber cloth (included with the S6L control surface) to clean the touch screens. Do not apply any cleaning solutions,

spray cleaners, or abrasives.

Hardware monitoring and automatic warnings are provided for temperature, power and other factors. For more information,

see

Hardware Monitoring Window.

Storage humidity range 5% to 95%, non-condensing

Operating humidity range 20% to 80%, non-condensing

Introduction to the VENUE | S6L System 12

Cabling Requirements

Power Connections

Power connections on all S6L system devices are auto voltage-selecting (100 to 240V nominal, 90-260V maximal, 50–60 Hz).

Make sure your power source is correctly rated for the number of units you are connecting. A surge-protected power source (not

included) is highly recommended.

Audio Network Connections

This section describes the audio network cabling requirements for S6L system components. Audio network connections between

S6L system components can be made using either copper or fiber-optic audio network cables. Cable types can be mixed within a

system, but only one type of connection (copper or fiber) can be used per audio network connection.

Copper

Shielded Cat 5e (350 MHz) or better Ethernet cable with Neutrik etherCON

connectors are required, supporting a distance of up to

100 meters per connection.

Fiber-Optic

S6L systems support single-mode fiber (SMF) or multi-mode fiber (MMF) cable to make audio network connections between com-

ponents, as follows:

SMF

Requires single-mode 9/125 OS1 or OS2 cables with duplex LC connectors and two qualified single-mode SFP transceivers

per connection, supporting distances of up to 10 kilometers

MMF

Requires multi-mode 50/125 OM2 or better cables with duplex LC connectors and two qualified multi-mode SFP transceiver

modules per connection, supporting distances of up to 500 meters.

Pro Tools Connections

Shielded Cat 5e (350 MHz) or better Ethernet cable with RJ-45 connectors is required for the AVB audio connections to Pro Tools.

ECx Ethernet Control Connections

Standard Cat 5e Ethernet cable with RJ-45 connectors are supported for ECx remote control connections to a client computer or

wireless/wired router.

System Requirements and Compatibility

Avid can only assure compatibility and provide support for hardware and software it has tested and approved. For complete system

requirements and a list of qualified computers, operating systems, hard drives, and third-party devices, visit:

www.avid.com/S6Lsupport

For complete information on connecting S6L system components, see the VENUE S6L Installation Guide.pdf.

Visit

www.avid.com/S6Lsupport for a list of qualified SFP transceivers for use with S6L systems.

Introduction to the VENUE | S6L System 13

Resources

The Avid website (www.avid.com) is your best online source for information to help you get the most out of your Avid system.

The following are just a few of the services and features available.

Account Activation and Product Registration

Activate your product to access downloads in your Avid account (or create an account if you don’t have one). Register your pur-

chase online, download software, updates, documentation, and other resources.

https://www.avid.com/account

Support and Downloads

Contact Avid Customer Success (technical support); download software updates and the latest online manuals; browse the Com-

patibility documents for system requirements; search the online Knowledge Base or join the worldwide Avid user community on

the User Conference.

https://www.avid.com/Support/index.html

For S6L system-specific support, visit:

www.avid.com/S6Lsupport

Get started learning the ins and outs of S6L using the many Avid Live Sound videos on YouTube.

Training and Education

Study on your own using courses available online, find out how you can learn in a classroom setting at an Avid-certified training

center, or view a webinar. For example, check out the live sound webinars hosted by Robert Scovill:

https://www.avid.com/resources/live-sound-webinar-registration

Products and Developers

Learn about Avid products; download demo software or learn about our Development Partners and their plug-ins, applications, and

hardware.

https://www.avid.com/Products/index.html

Activation

You must activate each S6L system component using the Activation Card included in each component’s shipping package. Acti-

vating your product lets you receive the following:

• VENUE system software and plug-ins

• Technical support

• Software update and upgrade notices

• Hardware warranty information

Introduction to the VENUE | S6L System 14

Conventions Used in This Guide

All of our guides use the following conventions to indicate touch screen gestures and key commands:

The names of selectable on-screen elements that contain text are displayed in a different font.

The names of physical switches on the S6L control surface are in displayed in bold text.

The following symbols are used to highlight important information:

When Using a Mouse with S6L

For the best experience, Avid recommends you use qualified external monitors with touchscreen capabilities for accessing the ex-

ternal VENUE software screen. When discussing on-screen selections, “touch” is used. If you are using a mouse to control the ex-

ternal VENUE software screen, “touch” is synonymous with “click,” “touch-and-hold” is synonymous with “right-click,” “dou-

ble-tap” is synonymous with “double-click” and “touch, hold and slide” is synonymous with “click-and-drag.”

How to Use this PDF Guide

This PDF provides the following useful features:

• The Bookmarks on the left serve as a continuously visible table of contents. Click on a subject heading to jump to that page.

• Click a + symbol to expand that heading to show subheadings. Click the – symbol to collapse a subheading.

• The Table of Contents provides active links to their pages. Select the hand cursor, allow it to hover over the heading until it

turns into a finger. Then click to locate to that subject and page.

• All cross references in blue are active links. Click to follow the reference.

• Select Find from the Edit menu to search for a subject.

• When viewing this PDF on an iPad, it is recommended that you open the file using iBooks to take advantage of active links

within the document. When viewing the PDF in Safari, touch the screen, then touch

Open in “iBooks”

Convention Action

Touch Touch an element on-screen briefly and immediately release your finger.

Used to activate a function or toggle a parameter value.

Swipe Touch an area on-screen and drag left/right/up/down. Used to scroll ele-

ments, where available.

Touch, Hold, and Drag/Slide On the external VENUE software screen, touch and hold a parameter, then

slide your finger to adjust parameters on-screen, or to drag elements.

Touch-and-Hold On the external VENUE software screen, touching and holding an element

on-screen, then releasing lets you access pop-up menu options, where

available.

Double-Tap Quickly tap an on-screen element such as a name field to edit its name

Options > System On the external VENUE software screen, touch Options, then touch the

System tab to display the System page.

Shift-touch/Ctrl-touch/Alt-touch On the external VENUE software screen, press and hold Shift (or other key-

board modifier) on the keyboard, then touch an on-screen parameter.

User Tips are helpful hints for getting the most from your system.

Important Notices include information that could affect your data or the performance of your system.

Shortcuts show you useful keyboard or mouse shortcuts.

Cross References point to related sections in this guide and other VENUE guides.

S6L Control Surface Overview 15

S6L Control Surface Overview

The section provides an overview of S6L control surface controls, and front and back panel audio, control, and power connections.

S6L Control Surface Top Panel Overview

The S6L control surface is available in four models, S6L-32D, S6L-24D, S6L-24C, and S6L-16C. Most available controls are com-

mon across all models, and only vary in quantity between models. Unlike other control surfaces, the S6L-16C does not include a

Master Touch Screen (use the external screen instead).

S6L is oriented vertically. On S6L-32D and 24D, each fader bank (except the fader bank under the Master Live Module) is oper-

ationally associated with the Channel Knob Module and the Channel Touch Module (if present) above it. All three operate in uni-

son: bank channels to a fader bank, select a banked channel, adjust that channel’s parameters on the associated Channel Knob Mod-

ule, and view the banked channels’ parameters on the associated Channel Touch Module. On S6L-24C and S6L-16C, the single

Channel Knob module provides access to the currently banked or selected channel. You can also select a channel from a Channel

Touch Module (if present) and adjust its parameters on the associated Channel Knob Module.

The Master Live Module provides control over global system parameters such as channel banking, snapshots and monitoring. The

Master Touch Screen, above the Master Live Module on S6L-32D and 24D and in the center on 24C, provides access to all system

channels (via Universe view), to parameters for the currently Attentioned channel (via Channel view), and a local view of the chan-

nels banked to the faders below the Master Live Module (via Meters view). S6L-16C does not include a Master Touch Screen but

provide connection, configuration, and Universe views on the external screen instead.

S6L top panel (S6L-24D shown)

1 –

Fader Banks

2 – Channel Knob Modules (CKM)

3 – Channel Touch Module (CTM)

4 – Master Live Module (MLM)

5 – Master Touch Screen (MTS)

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

VENUE | S6L

Solo Solo

Home

Config

VCAs

Outputs

Layouts

Inputs

Flip

Recall

Trans

F1 F2 F3 F4 F5

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Encoder

Assign

Select

Clear

Tap

Tempo

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

8All

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

Mute Mute

Nom

Inputs/Outputs

Global Controls

0.0 dB

Left

0.0 dB

Kick

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

01/011

reset all inputs

0.0 dB

CH 1

Kick

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

S6L Control Surface Overview 16

Fader Banks

Each fader bank provides eight channel strips to control input or output channels, depending on the type

of channels banked to the faders. Each channel strip provides the following controls and indicators:

1 –

Channel Menu

2 – Channel Safe

3 – Channel Display

4 – Mute

5 – Solo

6 – Select

7 – Attention

8 –

X and Y Switches

9 – Channel and Gain Reduction Meters

10 – Fader

11 – Channel Color Switch

Select

Solo

Menu Safe

Mute

AS B

CH 1

Ch 1

0.0 dB

S6L Control Surface Overview 17

Channel Menu

The Channel Menu provides several pages of parameters that apply to the banked channel. The Menu switch (“1” in the figure be-

low) enables the Channel Menu, which is shown in the channel display. The Left and Right Menu switches (2 and 3 in the figure

below) toggle the currently displayed Channel Menu parameter.

To use the Channel Menu:

1 Press Menu so it lights. The first page of the Channel Menu appears in the channel display.

2 Press Menu again to cycle through the available pages of Channel Menu options.

3 To toggle the parameter currently shown in the channel display, press the Left and Right Menu switches, as available. Each

Menu switch has an LED that lights when the associated parameter is enabled.

The following table provides a description of each Channel Menu page and the function of the Left and Right Menu switches for

each page:

* By default, channel Solo is routed to Monitor bus A. When Monitor A and B are selected, the channel is assigned to both Monitor buses,

both Menu switch LEDs are lit and “Mon A+B” appears in the Channel Menu Monitor page. For more information, see

Routing Chan-

nels to the Monitor Buses.

S6L Channel Menu

Channel Menu Page Parameter Left Menu Switch Right Menu Switch

Source/Destination

For an input channel, show and

toggle channel source.

For an output channel, show chan-

nel destination.

For input channels, enables the

hardware input patched to the

channel in the Patchbay as the

source

For input channels, enables the

corresponding Pro Tools Virtual

Soundcheck input as the source

for the channel

Monitor

Show and route channel Solo to

Monitor bus A and/or B.

Routes the channel Solo to

Monitor Bus A*

Routes the channel’s Solo to

Monitor Bus B*

Safe Mode

Engage a Safe mode not targeted

as the global safe mode.

Engages Safe

(automation, solo or bank)

Engages Safe

(automation, solo or bank)

Menu Safe

Mute

AS B

Ch 1:Stage1Analg1

Source

S6L Control Surface Overview 18

Channel Safe

Each channel strip provides a dedicated Channel Safe switch that lets you Automation, Solo (input channels only), or Bank Safe

the currently banked channel. The Safe mode engaged by the Channel Safe switch is defined globally for input and output channels

in the Channel Safe Switches section of the

Options > Interaction page of the external screen, (see

Interaction for more informa-

tion).

The channel strip provides the following Channel Safe controls and indicators:

1 – Safe

The Safe switch toggles safe on the channel.

2 – Safe LEDs

These LEDs light to indicate channel safe status, as follows:

• When A lights green, Automation Safe is enabled.

• When S lights yellow, Solo Safe is enabled.

• When B lights green, Bank Safe is enabled.

Channel Display

The channel display shows information for the currently banked channel such as the channel number and/or name, the current level

in dB for the banked channel, hardware assignment and current fader value, or a Channel Menu page if Menu is engaged.

Mute

Mute explicitly mutes the channel, removing the channel’s audio signal from any post-mute audio path, including L-R, C/Mono

buses, Groups, post-fader Direct Outs, and any post fader Aux sends, and lights solid red when engaged.

Solo

Solo sends the channel’s audio signal to the Monitor buses (when in AFL or PFL solo mode) or mutes all un-soloed input channels

(when in SIP solo mode). The S6L system provides two discrete Monitor buses, which can be configured to feed either or both

headphone outputs, and any number of system hardware outputs. See Soloing and the Monitor Buses for more information.

S6L Channel Menu controls

You can also safe channels using the Channel Knob Modules (CKM) and the Channel Menu. For more information see Man-

aging Snapshots, Bank Safing Channels and Solo Safing Channels.

Channel Displays can be optimized for easier viewing of channel name using the

Use Simple OLEDs setting.

A channel can be implicitly muted, for example, when it is muted as part of a Mute Group or VCA. See

Muting and Mute

Groups for more information. When a channel is implicitly muted, the Mute switch flashes red. Pressing Mute when a channel

is implicitly muted toggles the channel into or out of mute.

Menu Safe

Mute

AS B

CH 1

Ch 1

0.0 dB

S6L Control Surface Overview 19

Select

Select selects a channel locally, targeting the channel for processing using the 32 encoders on the associated Channel Knob Mod-

ule (CKM). From the CKM you can access channel processing functions such as EQ and dynamics via Channel Control mode (see

Channel Control Mode for more information).

Select also highlights that channel on any associated Channel Touch Module (CTM)–the screen in line with the fader bank from

which you selected the channel (only available on S6L-32D and 24D). You can select multiple channels for batch processing (Multi

Select). You can also deselect a channel, which enables Channel Strip mode on the associated CKM (see

Channel Strip Mode for

more information).

S6L-24C/16C and Local Select

On the S6L-24C and S6L-16C, pressing Select on any strip focuses that channel on the CKM. In addition:

• When any Channel is selected, the MTS enters Channel View for the selected channel.

• When no Channel is selected, the CKM is in Vertical mode for the faders directly below the CKM.

• If a Channel is selected but no parameter type was previously selected, the Channel parameters are displayed on the CKM.

Attention

Attention attentions a channel globally, targeting the channel to the Master Touch Screen (MTS) and by default to Flex Channel A

on the Master Live Module (see

Flex Channels for more information). Attention lets you focus on an important channel on the

MTS and a Flex Channel, keeping it visible and accessible at all times, while still allowing you to select other channels from the

fader banks (using

Select) and adjust their parameters on their respective CKMs and CTMs, if any.

Attention also targets the respective channel on the external screen, from which you can view and adjust the attentioned channel’s

parameters. You can also select multiple channels using Attention and apply an action to all selected channels at once, such as ap-

plying a high-pass filter to multiple channels at the same time (Multi-Select).

X and Y Switches

The X and Y switches provide convenient single-switch controls for the associated channel’s built-in dynamics processors, as fol-

lows:

Toggles Expander/Gate on/off. Its LED lights when the Exp/Gate is on. This applies to input channels only.

Toggles Compressor/Limiter on/off. Its LED lights when the Comp/Lim is on.

Selecting a channel banked to the fader bank below the Master Live Module targets the channel to the rightmost CKM and CTM.

You can also attention channels by touching a channel tile on Master Touch Screen (MTS). See Master Touch Screen (MTS)

for more information.

For more information on selecting and attentioning channels, see Selecting Channels.

These switches can be customized, globally, using Events.

S6L Control Surface Overview 20

Channel and Gain Reduction Meters

Each channel strip features dual 30-segment signal level meters and a dedicated 10-segment dynamics meter.

Channel Level Meter

For mono channels, only the left meter shows level. For stereo channels, both meters show signal level. The pickoff point for the

input and output channel meters is set on the Options > Interaction page. See Metering for information.

Dynamics Meter

The channel dynamics meter, located between the two channel level meters, show gate activity, gain reduction,

and also provides a 0 dB indicator.

1 – 0 dB Indicator

The 0 dB indicator LED begins to light blue when the fader is near 0 dB. As the fader moves closer to 0 dB the

LED gets brighter and is brightest when at 0 dB, making it easier to set the fader to 0 / unity. The 0 dB LED

also lights blue when Flip to Faders is enabled and gain or a similar (dB) parameter is on the fader. VCA con-

tribution also affects the state of the 0 dB indicator.

2 – Gate Meter

The gate meter provides indication of the corresponding channel’s built-in expander/gate via three LEDs,

which light to indicate gate activity as follows:

3 – Gain Reduction Meter

The gain reduction meter provides indication of gain reduction applied by the channel’s built-in compressor/limiter via six LEDs,

and light to indicate comp/lim activity as follows:

Fader

The fader controls the output level for the currently banked input or output channel. When Flip to Faders is active, the fader controls

the send level of the parameter currently flipped to faders (see Flip for more information).

LED LED Color Expander Status Gate Status

1 (Top)

Green 0 dB gain reduction Gate Open & Hold

Yellow 3 dB gain reduction Gate Released

3 (Bottom)

Red >21 dB gain reduction Gate Closed

No LED illuminated Not in circuit

LED LED Color LED illuminates at... LED at full brightness at...

1 (top)

Yellow

>0 dB gain reduction 1.5 dB gain reduction

Yellow

>1.5 dB gain reduction 3 dB gain reduction

Yellow

>3 dB gain reduction 6 dB gain reduction

Yellow

>6 dB gain reduction 9 dB gain reduction

Yellow

>9 dB gain reduction 15 dB gain reduction

6 (bottom)

Yellow

>15 dB gain reduction 21 dB gain reduction

No LED illuminated Not in circuit

Gain Reduction meters can be used to trigger

Events.

You can set a preference so that touching a fader automatically attentions that channel. See Channel Selection for more in-

formation.

S6L Control Surface Overview 21

Channel Color Switch

This switch lights in the color as defined in the external VENUE software (see Color-Coding Channels from the External

Screen) and/or from the Master Touch Screen (see Color-Coding Channel from the Universe View).

Channel Knob Modules (CKM)

Each Channel Knob Module provides channel parameter control via 32 dual-function encoders that provide switch and rotary func-

tions. Each CKM is associated with the bank of eight faders below it, and the Channel Touch Module above it (if present). The

CKM operates in one of the following modes: Channel Strip mode or Channel Control mode.

1 – Encoder Display

The encoder display shows the parameter that is targeted to the encoder, the value of the parameter

(such as dB level for gain or frequency of an EQ band), and a “virtual” encoder showing the po-

sition of the encoder relative to the parameter value. For gain parameters such as Input Gain and

High--Pass Filter (HPF), the virtual encoder fills in to indicate level. For bus assign parameters,

the encoder surround fills in completely when the corresponding channel is assigned, and is empty

(black) when the channel is unassigned.

The display also shows the name and status of parameters that you can toggle on/off (in/out), such

as Pad or HPF, and lights when that parameter is enabled. The circle in the center of the encoder

ring displays the status of the encoder press function (if any), such as on/off.

2 – Sel

Sel assigns a secondary parameter to the corresponding encoder, or toggles a secondary function

of the current parameter, where available.

3 – In

In toggles an individual parameter on/off, where available. For example, when EQ is assigned to

the CKM, pressing the

In switch for the knob controlling Lo band gain toggles that filter in/out.

The switch lights when the parameter is enabled (in).

4 – Encoder

Rotating the encoder adjusts the currently assigned parameter, as shown in the encoder display.

For certain parameters, pressing the encoder toggles the parameter on/off (such as the Hi Gain pa-

rameter when EQ is assigned). Encoders are color-coded by function. See

Encoder Color Cod-

ing for more information.

5 – Channel Control Function Switch

The Channel Control Function switch assigns a group of parameters for the currently selected

channel to the 32 encoders on the CKM. See

Channel Control Functions for more information.

6 – Parameter Bank Switches

The Left and Right Parameter Bank switches let you assign the next or previous page of parame-

ters to the encoders, and are available in both Channel Strip and Channel Control modes. A switch

lights when there is a previous or next page of parameters to access.

These switches can be customized using

Events.

CHANNEL

Sel

HPF

20 Hz

Aux 1

-11.2 dB

LPF

20.00 kHz

<0>

Pan

Post

S6L Control Surface Overview 22

Channel Strip Mode

When no channels are selected from the corresponding fader bank, the

CKM operates in Channel Strip mode in which parameters are assigned to

the CKM’s encoders in a vertical orientation. Each column of four knobs

corresponds to the channel currently banked to the channel strip below it,

and adjusting any knob in the column applies to that channel.

Channel Strip mode provides a selection of parameters from the different

channel processing functions across multiple pages. Pages are accessed

using the Parameter Bank switches (

< and >) below each column of knobs

on the CKM. In addition, pressing and holding the < or > switches let you

jump to page 1 (<) or to the last page (>). The number of pages available

is determined by the number of Auxes (for Inputs) or member channels

(for Outputs and VCAs), up to a maximum of eight additional pages, let-

ting you access up to 32 Auxes, or up to 32 member channels.

To page through parameter functions in Channel Strip mode:

 To navigate a column to the next function, press > in that column.

 To navigate a column to the previous function, press < in that column.

 To return a column to the first page, press and hold <.

 To jump to the last page, press and hold >.

* Not applicable for VCAs (column will be blank)

Channel Strip mode input channel parameters per page

CKM

Encoder>

Page 1 Page 2 Page 3 Page 4

Page 5

(Default)

Page 6 Pages 7–N

Function Input EQ Gate Comp/Lim Aux 1–4 Aux 5–8 Aux (next)

(top)

Gain EQ Hi

Gain

Gate

Threshold

Comp

Threshold

Aux 1 Aux 5 Aux N

LPF EQ Hi Mid

Gain

Gate Attack

Comp Ratio Aux 2 Aux 6 Aux N+1

HPF EQ Lo Mid

Gain

Gate Release

Comp Knee Aux 3 Aux 7 Aux N+2

(bottom)

Pan

(Bal/Width if

stereo)

EQ Lo

Gain

Gate Range

Comp Gain Aux 4 Aux 8 Aux N+3

Channel Strip mode output channel parameters per page

CKM

Encoder

Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Pages 7–N

Function Input *

EQ *

Bands 1–4

EQ *

Bands 5–7

Comp/Lim *

Members

1–4

Members

5–8

Members

(next)

(top)

Polarity EQ Lo Mid 2

Gain

n/a Comp

Threshold

1 Level 5 Level 9 Level

Delay EQ Lo Mid 1

Gain

EQ Hi

Gain

Comp Ratio 2 Level 6 Level 10 Level

Direct Out EQ Lo 2

Gain

EQ Hi Mid 2

Gain

Comp Knee 3 Level 7 Level 11 Level

(bottom)

Pan

(Bal/Width if

stereo)

EQ Lo 1

Gain

EQ Hi Mid 1

Gain

Comp Gain 4 Level 8 Level 12 Level

You can use

Encoder Assign Mode to define one custom set of controls for each row in Channel Strip mode.

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Gain

HPF

LPF

Pan

Gain

HPF

LPF

Pan

Gain

HPF

LPF

Pan

Gain

HPF

LPF

Pan

Gain

HPF

LPF

Pan

Gain

HPF

LPF

Pan

Gain

HPF

LPF

Pan

Gain

HPF

LPF

Pan

HPF

80 Hz

Gain

0.0 dB

LPF

20.00 kH

<0>

Pan

HPF

80 Hz

Gain

0.0 dB

LPF

20.00 kH

<0>

Pan

HPF

80 Hz

Gain

0.0 dB

LPF

20.00 kH

<0>

Pan

HPF

80 Hz

Gain

0.0 dB

LPF

20.00 kH

<0>

Pan

HPF

80 Hz

Gain

0.0 dB

LPF

20.00 kH

<0>

Pan

HPF

80 Hz

Gain

0.0 dB

LPF

20.00 kH

<0>

Pan

HPF

80 Hz

Gain

0.0 dB

LPF

20.00 kH

<0>

Pan

HPF

80 Hz

Gain

0.0 dB

LPF

20.00 kH

<0>

Pan

CH 1

Ch 1

0.0 dB

CH 2

Ch 2

0.0 dB

CH 3

Ch 3

0.0 dB

CH 4

Ch 4

0.0 dB

CH 5

Ch 5

0.0 dB

CH 6

Ch 6

0.0 dB

CH 7

Ch 7

0.0 dB

CH 8

Ch 8

0.0 dB

S6L Control Surface Overview 23

Channel Control Mode

Selecting a channel banked to a fader bank (or touching a parameter touch zone on a Channel Touch Module) enables Channel Con-

trol mode on the associated CKM. Channel Control mode provides comprehensive control over parameters such as EQ, Dynamics,

plug-ins, and Aux Sends for the currently selected channel. You can also create a custom set of controls for access to 32 assignable

parameters. See Adjusting Channel Parameters for more information.

S6L in EQ Channel Control mode (input channel EQ parameters shown)

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

0.0 dB

CH 1

Ch 1

IN IN IN IN

EQ In

Hi Gain

Hi Freq

HM Freq

LM Freq

Lo Freq

Lo Q

1.00

200 Hz 1.00 kHz 5.00 kHz

10.00 kHz

0.0 dB

1.00 1.00 1.00

LM Q

HM Q

Hi Q

HM Gain

LM Gain

Lo Gain

CH 2

Ch 2

0.0 dB

CH 3

Ch 3

0.0 dB

CH 4

Ch 4

0.0 dB

CH 5

Ch 5

0.0 dB

CH 6

Ch 6

0.0 dB

CH 7

Ch 7

0.0 dB

CH 8

Ch 8

0.0 dB

LPF

HPF

80 Hz

20.00 kHz

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

IN IN IN IN

IN IN

EQ In

Analog

Hi Gain

Hi Freq

HM Freq

LM Freq

Lo Freq

Lo Q

1.00

200 Hz 1.00 kHz 5.00 kHz

10.00 kHz

0.0 dB

1.00 1.00 1.00

LM Q

HM Q

Hi Q

HM Gain

LM Gain

Lo Gain

LPF

HPF

80 Hz

20.00 kHz

IN IN

S6L Control Surface Overview 24

Channel Control Functions

The Channel Control Function switches assign groups of parameters for the currently selected channel to the 32 encoders on the

CKM.

The labels below each switch indicate the type of parameters assigned to the CKM, as follows:

1 – CHANNEL

CHANNEL spills a variety of channel parameters such as input, EQ, and Dynamics parameters to the CKM, providing a default set

of utility parameters for the selected channel. You can also customize the parameters CHANNEL spills to the encoders. See

Using

the CHANNEL Function for more information.

2 – INPUT

INPUTS spills parameters such as gain, LPF, HPF, pad, pan, phantom power (48V), polarity, channel delay, channel safes, Direct

Out level, input source toggle, and Mains bus assign controls to the CKM. The available parameters depend on the type of channel

selected.

3 – EQ

For input channels, EQ spills the built-in 4-band EQ plus high- and low-pass filters to the CKM. For output channels, EQ spills

built-in 7-band EQ plus high- and low-pass filters to the CKM. If a graphic EQ (GEQ) is inserted on an output channel, pressing

a lit Parameter Bank switch spills GEQ parameter to the encoders.

4 – DYNAMICS

DYNAMICS spills the built-in Expander/Gate (input channels only) and Compressor/Limiter to the CKM.

5 – PLUG-INS

PLUG-INS assigns four Plug-In Selectors to the leftmost column of encoders, each of which corresponds to one of the four channel

Insert slots. Pressing a Plug-In Selector spills the parameters for that plug-in to the rest of the encoders on the CKM.

6 – MIX

The three MIX switches spill Aux, Group, or Matrix Mixer controls to the associated CKM. The type and number of Aux/Group-re-

lated parameters the MIX switches assign to the CKM is determined by the global Mix Bus configuration as set on the Options >

System page (see

System Configuration for more information).

The MIX switches spill the following parameters to the CKM, depending on the type of channel selected:

Aux Sends

When you select an input channel, the MIX switches spill Aux sends and/or Group bus assignment controls to the CKM.

You can assign the channel to Auxes/Groups, and adjust Aux send levels. Each MIX switch spills Aux Sends in sets of 32 channels,

as available. Groups are always accessed via MIX switch three (the rightmost MIX switch).

Members

When you select a Mains output, an Aux output, a Group output, or a VCA, the MIX switches spills the member channels

(the channels assigned to that bus or VCA) to the CKM, from which you can adjust the contributing levels of the member channels

to the selected bus or VCA. Each

MIX switch spills members in sets of 32 channels, as available.

Matrix Mixers

When you select a Matrix Mixer output, pressing any MIX switch assigns the available Matrix Mixer input controls

to the CKM, letting you turn Matrix Mixer inputs on/off and adjust Matrix Mixer input levels.

CKM Channel Control Function Switches

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

1 2 3 4 5 6 6 6

S6L Control Surface Overview 25

Encoder Color Coding

CKM encoders light in colors according to their function or parameter in all encoder modes, as follows:

* If you change the color of an Aux or Group output channel, the encoders for the sends to that output channel light in the assigned

color.

Function Color Parameter Color

Channel Parameters light in the color of the function

of which each parameter is a member

Group Assign Orange*

Input White Mains L-R Assign White (Red when In)

EQ Green Center/Mono Assign White (Red when In)

Comp/Lim Blue

Processor In/Out Red

Exp/Gate Yellow Plug-In Select Red

Aux Sends/Matrix Inputs Purple*

S6L Control Surface Overview 26

Channel Touch Module (CTM)

The S6L-32D provides three Channel Touch Modules (CTM), and the S6L-24D provides two CTMs. Each CTM is located above

a CKM, and is functionally associated with that CKM and the fader bank below it. The CTM provides a local view of the channels

banked to the associated fader bank. Using the CTM’s touch capabilities, you can select channel functions and spill those param-

eters to the associated CKM. The CTM provides two views, Meters view and Channel view.

Meters View

Meters view displays parameters for each channel vertically, like a “virtual channel strip.” Each strip is

composed of parameter touch zones that show the status of certain parameters for the associated chan-

nel. Parameters in each touch zone are lit when that parameter is on, and dimmed when off.

Touching a parameter touch zone simultaneously locally selects the corresponding channel and assigns

the touch zone’s parameters to the associated CKM in Channel Control mode. The active zone is indi-

cated by an orange border. Touching an active zone de-selects the corresponding channel. Each virtual

channel strip provides the following parameter touch zones:

1 – Meters and Assignments

This zone shows the associated channel’s channel number and name, and level and gain reduction for the

channel. Touching this zone changes the view on the CTM to a Channel view of the currently selected

channel.

To the left of the meters are (from top to bottom) VCA, Mute Group, and Mains bus assignment indica-

tors.

2 – Input

This zone shows a selection of input or output channel parameters. Touching this zone mirrors the func-

tion of the INPUT Channel Control Function switch.

3 – EQ

This zone shows the current EQ curve applied to the channel. Touching this zone mirrors the function

of the EQ Channel Control Function switch.

4 – Dynamics

This zone shows a composite dynamics graph for the channel. Touching this zone mirrors the function

of the DYNAMICS Channel Control Function switch.

5 – Plug-Ins

This zone shows the channel’s Inserts slots, and any plug-ins inserted in those slots. Touching this zone mirrors the function of the

PLUG-INS Channel Control Function switch.

6 – Aux Sends/Members/Matrix Mixer Inputs

This zone shows the following, depending on the type of channel banked to the corresponding channel strip:

Aux Sends and Groups

For input channels, this zone shows the channel’s Aux Sends in sets of 32, and Group bus assignments.

Each send is represented by a thermometer-style meter showing individual send level and on/off status (lit is on). Touching this

zone assigns the set of Aux sends indicated in the display (1–32, 33–64, 65–96, as available) to the associated CKM.

Members

This zone shows Aux output, Group output, Mains output, or VCA members (channels assigned to that bus or VCA),

their send levels, and on/off status in sets of 32. Touching this zone assigns the set of members indicated in the display (1–32,

33–64, 65–96, as available) to the CKM.

Matrix Mixers

For Matrix Mixers, this zone shows Matrix Mixer members (channels assigned to that Matrix Mixer), their input lev-

els, and on/off status. Touching this zone assigns the available Matrix Mixer input controls for the selected Matrix Mixer to the

CKM.

G1 G3 G8

S6L Control Surface Overview 27

Channel View (CTM)

Touching the Meters in Meters views automatically selects that channel and replaces Meters view with Channel view. Channel

view provides a complete view of the selected channel’s parameters. Parameters in each touch zone are lit when that parameter is

on, and dimmed when off. As in Meters view, touching a touch zone assigns its associated parameters to the associated CKM in

Channel Control mode. Channel view also provides eight channel tiles, which you can touch to select, providing an uninterrupted

on-screen workflow.

1 – Input

This zone shows level and gain reduction meters, as well as a selection of other input parameters. Touching this zone assigns the

same parameters to the CKM as the CHANNEL Channel Control Function switch.

2 – EQ

This zone shows the current EQ curve applied to the channel by the built-in channel EQ, and its on/off state. For output channels

with a graphic EQ inserted, the current GEQ curve is also shown. Touching this zone mirrors the function of the EQ Channel Con-

trol Function switch.

3 – Dynamics

This zone shows a composite dynamics graph for the channel, and the dynamics processor(s) on/off state(s). Touching this zone

mirrors the function of the DYNAMICS Channel Control Function switch.

4 – Inserts

This zone shows the channel’s Inserts slots, and any plug-ins inserted in those slots, as well as the status of the channel’s hardware

insert. Touching this zone mirrors the function of the PLUG-INS Channel Control Function switch.

5 – Aux Sends/Members/Matrix Mixer

This zone provides an expanded version of the Aux Sends/Members/Matrix Mixer touch zone available in the Meters view. Three

touch zones are provided, mirroring the function of the three MIX Channel Control Function switches.

CTM Channel view (input channel shown)

S6L Control Surface Overview 28

6 – Channel Tiles

Channel view shows eight channel tiles at a time, mirroring the channels banked to the corresponding fader bank. Each channel tile

shows the channel number and name. Touching a channel tile selects that channel, and targets that channel for processing, mirror-

ing the function of the channel strip

Select switch. When you select a channel, the channel tile is bordered in orange.

7 – Back Button

This button returns the CTM to Meters view.

Master Live Module (MLM)

The Master Live Module is the “center section” of your S6L control surface, providing system-wide controls including fader bank-

ing controls, snapshot control, transport control for playback and recording, monitoring, Mute Groups, Function switches, and

more. The MLM also provides unique features such as two assignable Flex Faders, and two banks of Soft Keys, each featuring a

display and associated Soft Keys and navigation switches.

The MLM provides the following controls and indicators:

Master Live Module (MLM)

1 –

Global Modifiers

2 – Snapshot Controls

3 – System Functions

4 – Assignable Encoder

5 – Monitoring Section

6 – Flex Channels

7 – Fader Banking Controls

8 – Left Soft Keys

9 – Right Soft Keys

10 – CKM Control Switches

11 – Transport/Function Switches

VENUE | S6L

Solo Solo

Home

Config

VCAs

Outputs

Layouts

Inputs

Flip

Recall

Trans

F1 F2 F3 F4 F5

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Encoder

Assign

Select

Clear

Tap

Tempo

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

8All

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

Mute Mute

Nom

Inputs/Outputs

Global Controls

0.0 dB

Left

0.0 dB

Kick

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

001/011

reset all inputs

0.0 dB

CH 1

Kick

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

S1Cu2

001 3

P:S1C1

N:S1C3

S1Cu3

S1Cu2

3 54

S6L Control Surface Overview 29

Global Modifiers

Multi-Select (Shift)

Multi-Select lets you select or attention multiple channels, and then apply an action to all selected/at-

tentioned channels for batch routing and assignment. For more information see Selecting/Attentioning

Multiple Channels (Multi-Select). You can also use Multi-Select to select multiple consecutive items

in the Snapshots list.

Multi-Assign

Multi-Assign Lets you quickly assign multiple input channels to a selected bus or VCA. See Assigning Channels Using

Multi-Assign.

Default (Alt)

Default provides a quick way to reset a control to its default setting (or “zero” the setting), such as resetting a fader to 0 dB.

To reset a fader to 0 dB:

 Hold Default and do any of the following on the channel strip for the channel you want to reset:

• Touch the fader.

• Press Select or Attention.

To reset a single parameter:

 Hold Default and press the encoder for the parameter you want to reset, where applicable.

To reset all parameters of a built-in channel EQ, Expander/Gate, or Compressor/Limiter processor:

 Hold Default and do the following:

• Press the EQ In encoder to reset the EQ.

• Press the E/G In encoder to reset the Expander/Gate.

• Press the C/L In encoder to reset the built-in Compressor/Limiter.

To reset an Aux send to 0 dB and turn the send off:

 Hold Default and press the encoder for the Aux send you want to reset.

Fine (Ctrl)

Fine lets you adjust controls (except for faders) on the console or on-screen with maximum resolution. For example, if by default

a control adjusts a parameter in units of 1 dB, the Fine switch allows adjustment in units of 0.1 dB.

You can also use Fine to select multiple non-consecutive items in the Snapshots list.

To adjust a control with fine resolution:

 Press and hold Fine while moving a control. The display associated with the adjusted control will show the values change at the

corresponding resolution.

To Multi-Select on the external screen, press the Shift key on the keyboard and select

the items on-screen.

To reset a parameter on the external screen, press the Alt key on the keyboard and select the parameter on-screen.

To adjust a control with fine resolution on the external screen, press Ctrl on the keyboard and adjust the parameter on-screen.

Multi

Select

Multi

Assgn

Default Fine

OK Cancel

SHIFT

ALT

CTRL

ESC

S6L Control Surface Overview 30

Momentary and Latching Modes

Fine supports momentary and latching operation.

Momentary

In momentary mode, Fine stays in effect for as long as you hold down that modifier switch.

Latching

In latching mode, Fine stays in effect until you explicitly clear its active state.

To use Fine in momentary mode:

1 Press and hold Fine.

2 Adjust a channel, parameter, or processor.

3 Release Fine.

To use Fine in latching mode:

1 Double-press Fine. The switch LED lights.

2 Select or adjust one or more channels, parameters, or processors.

3 Press Fine again to exit latching mode.

OK confirms the current operation, such as confirming assignments made in Multi-Select mode, or dismisses dialogs such as the

Waiting for Device dialog.

Cancel (Esc)

Cancel exits the current operation, such as exiting Multi-Select mod. Holding cancel also unlocks the system if it has been locked.

Snapshot Controls

The S6L control surface provides Snapshot controls in two locations on the MLM: in the Snapshots section and the Prev/Next

switches, below the right-hand MLM display. For more information on using Snapshots, see

Snapshots.

Snapshots Section

You can target (select), store, recall, and preview snapshots using the controls in this section.

Select Encoder and Displays

Turning the select encoder scrolls through and selects the targeted snapshot in the Snapshots list. The

displays show the number and name of the currently targeted snapshot.

Store

Saves the current state of all console parameters in the targeted snapshot. This switch mirrors the Store button on the Snap-

shots page.

Recall

Loads the targeted snapshot. This switch mirrors the Recall button on the Snapshots page.

Preview

Enables Snapshot Preview mode, and mirrors the Preview button on the Snapshots page. Preview mode lets you recall,

store and edit snapshots without affecting the current mix. See Preview Mode for more information.

Snapshots section

VENUE | S6L

Recall

Store

SNAPSHOTS

Preview

001/011

reset all inputs

S1Cu2

001 3

P:S1C1

N:S1C3

S1Cu3

S1Cu2

S6L Control Surface Overview 31

Prev/Next Switches

These switches instantly recall the previous or next snapshot in the Snapshots list. The switches are lit when there is a previous or

next snapshot to recall.

System Functions

The switches in this section provide control over a variety of system-wide functions.

Home

Home lets you quickly return the control surface and all screens to their default states and view, but does not reset any parameters,

as follows:

• Channel 1 is attentioned

• Channels are banked to the default split banking mode (where inputs are banked to outside fader banks and outputs are banked

to the center fader bank, under the MLM),

• All channels are deselected and all CKMs revert to Channel Strip mode

• All CTMs show Meters view

• The MTS shows the Universe > Inputs view

• The external screen shows the Inputs page

Config

Config toggles the system between Config and Show modes. Use Config mode when configuring your system (for example, when

changing Bus configurations). Use Show mode during performances. For more information see Enabling Config Mode. Config

lights when Config mode is enabled.

Over Write

The Over Write switch on the MLM is equivalent to the Overwrite button on the Save tab of the Filing page. When pressed, a di-

alog is displayed asking you to confirm that you want to overwrite the currently targeted Show file.

Talkback

Talkback turns the Talkback circuit on, and operates in momentary (press-and-hold) and latching (double-press) modes.

Assignable Encoder

This encoder and associated display are reserved for future use.

Prev/Next Snapshot switches

System Function switches

In previous versions of VENUE software, pressing Home would also reset the Flex Channels to their default assignments

(attentioned channel and Mains, as defined in Options > Interaction).

Talkback is routed using the Options > Misc page of the external screen. See Talkback for more information.

Recall

Store

SNAPSHOTS

Home Config

Talk

Back

Over

Write

S6L Control Surface Overview 32

Monitoring Section

The S6L system provides two discrete Monitor buses (Monitor bus A and B). The Monitoring section provide controls for the cur-

rently targeted Monitor bus.

Monitoring Encoder

The monitoring encoder lets you target a Monitor bus for control and provides level control for the targeted Monitor bus, as follows:

 Push the encoder to toggle the controls in the Monitor section between Monitor bus A and B. The A or B LED lights to indicate

the currently targeted Monitor bus.

 Rotate the encoder to adjust the level for the targeted Monitor bus.

Dim

This switch is reserved for future use.

AFL/Hold SIP

 AFL enables after-fader-listen (AFL) mode on the currently targeted Monitor bus.

 Pressing and holding AFL temporarily engages solo-in-place (SIP) mode.

Mix to Monitors

Sends the Main mix signal to the targeted Monitor bus. When enabled (lit), the Main mix is present in the headphones (or other de-

vice connected to a hardware output to which the Monitor bus is routed) whenever channels are not soloed.

Solo Clear

Solo Clear Flashes when one or more channels are soloed, and does the following when pressed:

• A single press clears any solos on the currently targeted monitor bus.

• A double press clears all soloed channels.

Monitoring section

SIP mode interrupts audio on the Main bus. Do not engage SIP during a performance.

AFL

Dim

Mix to

Mon

Solo

Clear

MONITORING

Push A/BHold SIP

S6L Control Surface Overview 33

Flex Channels

Two Flex Channels provide access to channels irrespective of the active fader layout or

bank. You can configure the Flex Channels in the Fader Configuration section of the Op-

tions > Interaction page of the external screen. See Fader Configuration information

on customizing the Flex Channels.

By default, enabling a channel’s Attention switch assigns that channel to Flex Channel

1 left), and a single fader controlling Mains Left and Right is assigned to Flex Channel

2 (right).

Each Flex Channel provides the following features:

Display

Shows the channel number and name of the currently assigned channel.

Mute

Mutes the currently assigned channel, and follows global Mute settings.

Solo

Solos the currently assigned channel, and follows global Solo settings.

X and Y Switches

Mirror the functionality of the attentioned channel’s X and Y

switches.

Attention

Mirrors the functionality of the Attention switch on the channel strips.

Fader

Adjusts the level for the currently assigned channel.

Channel and Dynamics Meters

Show the channel level and gain reduction for the as-

signed channel via 18-segment and 4-segment LED ladders, respectively.

Channel Color Switch

Mirrors the function of the Channel Color switch for the currently

assigned channel, and lights according to the channel’s assigned color-coding.

Latching a Channel to a Flex Channel

When a Flex Channel is configured to control an attentioned channel, you can “latch” the

currently attentioned channel to the respective Flex Channel. When you latch a channel

to a Flex Channel, attentioning another channel does not change the assignment of the Flex Channel, letting you keep constant con-

trol over your most important channel.

To latch a channel to the Flex Channel from the control surface:

 Double-press the channel strip Attention switch for the channel you want to latch to the Flex Channel.

To latch a channel to the Flex Channel from the external screen:

1 Go to the Inputs or Outputs page.

2 Touch and hold (right-click) a fader strip.

3 Choose Latch <“channel name/”number>.

To unlatch the Flex Channel:

 Double-press the latched channel’s Attention switch. Pressing Attention on another channel now assigns that channel to the

Flex Channel.

– or –

 From the external screen, touch and hold the latched channel and choose Unlatch <“channel name/”number>.

Solo Solo

Mute Mute

Nom

0.0 dB

Left

0.0 dB

Kick

0.0 dB

CH 1

Kick

Flex Channels 1 (left) and 2 (right)

showing default assignments

S6L Control Surface Overview 34

Fader Banking Controls

S6L lets you bank channels to faders in a variety of ways. By default, channels are banked to S6L faders in a “split” banking con-

figuration. Input channels are banked sequentially to the fader banks below CKMs and CTMs, and output channels are banked to

the fader bank below the MLM. The Left Soft Keys display shows pre-defined banks of channels, which you can bank to faders us-

ing the associated Soft Keys.

The two groups of switches in this section, the Fader Bank Mode switches and the Horizontal Banking switches, provide an alter-

nate banking mode that let you bank only the selected channel types to all the faders on the control surface, then nudge them left

or right.

Fader Bank Mode Switches

The Fader Bank Mode switches (Layouts, VCAs, Inputs, and Outputs) enable Fader Bank Mode, which banks only those re-

spective channel types to all the faders of the control surface (except Flex Channels). The Left Soft Keys display shows banks of

channels containing only the types of channels provided by the selected channel type, which you can select by pressing a corre-

sponding Soft Key. Deselecting the active Fader Banking Mode switch returns the faders to the most recent split banking config-

uration.

Each switch lets you bank only the following channel types to the faders using the associated Soft Keys:

Layouts

Banks a custom fader configuration (“Layout”) to all faders on the S6L control surface. See User Layouts for more in-

formation on creating and using Layouts.

VCAs Banks only VCAs to all faders.

Inputs

Banks only input channels to all faders.

Outputs

Banks only output channels to all faders.

Horizontal Banking Switches

These switches provide horizontal banking of channels (“nudging”), and are available only when you have enabled one of the Fader

Banking Mode switches.

<<, >>

Nudges channels to the left or right by one channel.

All

When All is enabled, the << and >> switches move all channels 24 or 32 channels to the right or left, depending on your control

surface. For example, if input channels 1–24 are banked to all faders on an S6L-24D, pressing >> when All is enabled banks input

channels 25–48 to the faders.

When 8 is enabled, the << and >> switches move all channels eight channels (one bank) to the right or left. For example, if input

channels 1–24 are banked to all faders on an S6L-24D, pressing >> when 8 is enabled banks input channels 9-16 to the left fader

bank, input channels 17–24 to the center bank, and channels 25–32 to the right bank.

See

Banking Channels on the S6L Control Surface or more information.

Fader Banking Mode switches

Fader Banking Navigation switches

VCAs

Outputs

Layouts

Inputs

8All

S6L Control Surface Overview 35

Left Soft Keys

Fader Banking Controls

The Left Soft Keys provide access to pre-defined fader bank layouts, as well as custom layouts. The display shows the available

fader bank layouts across multiple pages. Pressing a corresponding Soft Key banks the channels indicated in the display to the fad-

ers. The available fader layouts vary depending on whether or not a Fader Banking Mode switch is enabled.

Right Soft Keys

Mute Groups, Functions, and GEQ on Faders

The Right Soft Keys provide access to Mute Groups, programmable Functions, and GEQ on Faders. Pressing a corresponding Soft

Key enables that Mute Group or Function.

Mute Groups

The S6L system provides 24 Mute Groups, which let you mute groups of channels with the press of a single Soft Key. Add channels

to Mute Groups using the Mutes Channel Type button on the Master Touch Screen (MTS).

Functions

Customizable Functions let you control a wide range of console parameters with the press of a Soft Key. Assign actions to Func-

tions using events, available on the Control > Events tab of the external VENUE software screen.

GEQ on Faders

When GEQs are assigned to channels, they can be banked to faders with the press of a Soft Key.

CKM Control Switches

These switches primarily control functions associated with the CKMs.

Encoder Assign

This switch lets you specify a custom set of four parameters to display across rows of CKM controls in Channel Strip mode.

Flip

Flip to Faders

Flip enables Flip to Faders mode on the control surface for input channels. Flip to Faders lets you flip any Channel Strip mode pa-

rameter to the faders on the control surface, temporarily replacing the channel level control with the currently targeted parameter.

See

Flipping Parameters to Faders (Flip to Faders Mode).

See Muting and Mute Groups for more information.

See

Events for more information.

CKM control switches

See

Encoder Assign Mode for more information.

You can also flip Aux sends to faders using Sends on Faders mode. When Sends on Faders is enabled, soloing an Aux output

assigns Aux Send level controls for the soloed Aux output to the faders. See Adjusting Aux Sends on Faders (Sends on

Faders Mode).

Flip

Encoder

Assign

Select

Clear

Tap

Tempo

S6L Control Surface Overview 36

Select Clear

Clears all selected channels and returns all CKMs to Channel Strip mode.

Tap Tempo

Sets the system tempo for use as a beat clock for delay and echo plug-ins that support Tempo Sync. The switch blinks in time with

the system tempo. For more information see Tap Tempo for Plug-ins.

Transport/Function Switches

These dual-function switches provide dedicated switches to control the Pro Tools Transport, as well as programmable function

switches that you can use to control a wide range of system parameters using events (see Events for more information).

The following switches are provided:

Trans

Toggles the F1–F5 switches between control of events and the Pro Tools Transport.

When unlit, by default the switches target pages on the external screen, as follows:

Targets the Inputs page.

Targets the Outputs page.

Targets the Snapshots page.

Targets the Plug-Ins page.

Targets the Options page.

When Trans is lit, Pro Tools Transport controls are active, and provide the following functionality:

Is reserved for future use.

Stops the Pro Tools Transport.

Initiates playback in the Pro Tools Transport.

Arms the Pro Tools transport and initiates recording.

To access all Function Keys:

1 In the right Soft Keys on the MLM, press the switch for Function Keys.

The first 12 currently assigned Function switches appear in the Soft Keys.

2 To navigate to Functions 13–24, press the Soft Key below Next.

You must enable VENUE Link on your S6L system and in Pro Tools to use the transport controls. See the S6L Live Recording

Guide.pdf for more information.

Transport controls

Up to 24 Function switches are available; F1–F5 in the Transport/Function Keys section, and all 24 in the right Soft Keys of the

MLM. To see the default (factory) Function key assignments, use the

Clear Console command. All available Function Keys can

be assigned and reassigned using Events.

Trans

F1 F2 F3 F4 F5

S6L Control Surface Overview 37

Master Touch Screen (MTS)

All S6L control surface models (except the S6L-16C) feature a Master Touch Screen (MTS). Located above the Master Live Mod-

ule, the MTS provides a global view of S6L system channels, a Meters view, and can also provide a targeted view of the currently

attentioned channel. Using the touch capabilities of the MTS, you can also perform channel actions such as attentioning, soloing

and muting channels irrespective of the active fader layout or bank, as well as assign channels to custom fader layouts.

The MTS provides three views, the Universe view, Meters view, and Channel view. With S6L-16C, Universe view and essential

connection and configuration screens are provided on the external screen.

Universe View

Universe view displays a bank of up to 96 channel tiles at a time in six rows of 16 channels each. You can navigate to additional

channel tiles by swiping vertically. You can attention channels, and enable or disable solo and mute from the Universe view, as well

as target different channel types to the screen. Universe view also lets you assign channels to layouts, “favorite” channels and sort

channels that appear on the screen by number, name, color, and favorite status. Other functions are available depending on the cur-

rent view.

To access Universe view:

 Tap Universe at the bottom of the MTS so it lights orange.

Basics of Using the Universe View

 Touch a Channel Type button to show those channels.

 Touch a Channel Tile Function button so it lights to activate that function for the Channel Tiles .

 Touch a Channel Tile to Attention, Mute, or Solo that channel, depending on the active Channel Tile Function button.

 Touch a Channel Tile Filter button to order channels numerically by channel number, or alphabetically by channel name.

MTS Universe view showing Inputs

2 3

S6L Control Surface Overview 38

The Universe view provides the following on-screen elements. Not all elements are available in all Universe views.

1 – Channel Tile

Each channel on your system has a corresponding channel tile in the Universe. Each channel tile shows the channel’s number and

name, as well as its current attention, mute solo, and favorite status. A level meter is also provided.

 Touching a channel tile engages the currently selected track function for that track, as determined by the Track Function buttons.

 Double-tapping a channel tile targets that channel in the MTS Channel view.

 To access more channel tiles than are shown, swipe vertically. Depending on the channel type selected, more channels may or

may not be available.

2 – Channel Type Buttons

Touching one of these buttons shows only the channel tiles for the selected channel type. Only one of these buttons can be selected

at a time, and lights orange when active.

3 – Channel Tile Sort By Buttons

These buttons sort the channel tiles in the MTS Universe. One of these buttons is active at all times. Touching one of these buttons

sorts channels as follows:

123

When enabled, orders channel tiles by number.

A...Z

When enabled, orders channel tiles alphabetically.

4 – Channel Tile Filters

These buttons filter the channels tiles shown in the MTS. Touching one of these buttons so it lights sorts the channel tiles in the

MTS Universe as follows:

Channel Color Filter (Brush)

When enabled, shows channel tiles according to the color selected in the pop-up. Channels have de-

fault color-codings, which you can change. For more information see Color-Coding Channel from the Universe View.

Favorites Filter (Star)

When enabled, shows only the channel tiles you have designated as favorites using the Star (Favorite As-

sign) Track Function button.

5 – Channel Tile Function Buttons

Channel Tile Function buttons determine what happens when you touch a track tile. When you select a Channel Tile Function but-

ton, touching a track tile engages the selected function for that track, as follows:

Attention

Mirrors the function of the channel strip Attention switch.

Mute

Mirrors the function of the channel strip Mute switch.

Solo

Mirrors the function of the channel strip Solo switch, and adheres to global Solo settings as defined in the Options > Buses

page of the external screen.

Spill

Lets you rapidly access channels assigned to an Aux or Group output bus, Matrix, or VCA by spilling them to faders.

Multi-Assign

Mirrors the functionality of the Multi-Assign switch on the MLM and in the external screen.

Layout Assign

Lets you assign channels to a custom fader bank configuration called a “Layout.” See User Layouts for more in-

formation on creating and using Layouts.

Channel Color Assign (Brush)

Lets you color code channels directly from the MTS. See Color-Coding Channel from the Uni-

verse View.

Favorites Assign (Star)

Lets you designate one or more channels as favorites, which you can then filter in the MTS Universe view

using the Favorite (Star icon) Channel Filter button.

You can also color-code channels in the external VENUE software (see Color-Coding Channels from the External

Screen).

S6L Control Surface Overview 39

To favorite a channel:

1 Tap the Favorite Assign (Star icon) Track Function button on the MTS so it lights.

2 Tap any channel tiles you want to favorite. A star appears in each channel tile that is designated as a favorite.

3 When finished, touch the Favorite Assign button again so it is unlit, or touch another Function Assign button.

To show only favorite channel tiles in the MTS:

1 Assign the desired channels to the channel tiles by touching a Channel Type button.

2 Tap the Favorite (Star icon) Channel Tile Filter button.

6 – Universe Scroller

The Universe Scroller shows channel tiles for the channels currently banked to the S6L channel strips. Swipe horizontally to view

additional channels.

7 – Control Surface Configuration (Gear Icon)

The gear icon provides access to the Control Surface Configuration page, where you can view detailed information about modules

and adjust LED brightness. For more information see Troubleshooting.

8 – Mons A and B Level Indicators

These indicators show the Monitoring output levels of Monitor Bus A and Monitor Bus B, and change when the Monitoring en-

coder is adjusted, depending on the Monitor bus currently targeted by the Monitoring encoder.

Color-Coding Channel from the Universe View

You can color-code channels in the Universe view, then sort channel tiles by color.

To color-code a channel from the Universe view:

1 Tap Universe.

2 Tap the Brush Track Function button so it lights.

3 Tap the desired color in the pop-up.

4 Assign the desired channels to the channel tiles by touching a Channel Type button.

5 Tap the channel tiles you want to color code in the selected color.

6 When finished color-coding, touch the Brush Track Function button so it is unlit.

The color coding is reflected in the Universe view channel tiles; on the CTM for the color-coded channels; on the Channel Color

switch; on the CKM encoders for Aux Sends, Matrix input controls, Group assignment controls, and Mains assignment control;

and on the fader strips and the Aux Sends section on the external screen.

To show only the channel tiles that share a color-coding:

1 Assign the desired channels to the channel tiles by touching a Channel Type button.

2 Tap the Brush Channel Tile Filter button.

3 Tap the desired color in the pop-up.

4 To remove the color-code filter, touch the Brush Channel Tile Filter button so it is unlit.

With S6L-16C the Control Surface Configuration page is accessed on the external screen by choosing Options > Configuration.

You can also color-code channels from the external screen. See

Color-Coding Channels from the External Screen for

more information.

S6L Control Surface Overview 40

Meters View (MTS)

The MTS provides a Meters view that looks and operates just like CTM Meters View. Meters view provides a local view of the

channels banked to the faders below the MLM.

• Tapping a Meter switches the MTS to the Channel view for the corresponding channel. Tapping < returns to Meters view.

S6L-24C Meters View on MTS

When the MTS is in Meters View it shows the channels on the faders directly below it (OLEDs on those strips show a Selection

outline). By default, Meters view on the 24C follows the Selected channel.

You can change this behavior to instead have the MTS Meters view be associated with whichever strips are banked below the MTS.

To configure Meters Follow Selection:

1 On the external screen go to Options > Interaction.

2 Enable or disable the Meters Follow Selection setting.

• When enabled, Meters View on the MTS associates with the bank of channels that has a channel selected locally.

• When not enabled, Meters View associates with the faders directly below the MTS.

Meters view on the MTS

S6L Control Surface Overview 41

Channel View (MTS)

MTS Channel view provides a detailed view of the attentioned channel’s parameters, and provides most of the same on-screen el-

ements as the Channel View (CTM) on the CTM.

The MTS channel view provides visual feedback for the attentioned channel’s parameters but, unlike the CTM Channel view, pro-

vides no touch zones for parameter control.

To access Channel view:

 Tap Channel at the bottom of the MTS so it lights orange.

MTS Channel view

S6L Control Surface Overview 42

S6L Control Surface Connections

The S6L-32D, S6L-24D, and S6L-24C, and S6L-16C all have the same network and ancillary connections. Audio connections are

identical on all except S6L-16C, as noted below.

Audio Connections

(S6L-32D/24D/24C)

S6L control surface audio I/O is assigned to VENUE system channels using the Patchbay, under the Console tab. If using Local 16

I/O, its inputs and outputs appear in the Patchbay under the Local tab.

• To assign inputs, see

Patching Input Sources to Input Channels.

• To assign outputs, see

Patching Output Channels to Hardware Outputs.

1 – Analog Mic/Line Inputs 1–8 (8 XLR Connectors)

Each input features signal and 48V phantom power LEDs, which light when a signal is present and 48V is applied, respectively.

2 – Analog Outputs 1–8 (8 XLR Connectors)

Each output features an LED that lights when a signal is present on the output, and a mute LED indicator that lights when the output

is muted. Outputs auto-mute when the system is powered on.

3 – AES Digital I/O (4 x stereo inputs, 4 x stereo outputs)

Inputs feature Sample Rate Conversion, which converts signals to the current sample rate of the system. See

Synchronization.

S6L-16C Audio Connections

S6L-16C control surface audio includes the following:

1 – Analog Mic/Line Input (XLR Connector)

2 – Analog Outputs 1–2 (2 XLR Connectors)

S6L control surface back panel (S6L-32D/24D/24C)

You can mute all the outputs on the S6L control surface at once from the Devices page of the external VENUE software screen.

See

Muting Stage and S6L Control Surface Outputs

S6L-16C control surface back panel audio connectors

11 12

1 2

S6L Control Surface Overview 43

Network Connections

3 – Network A and B

(Two etherCON RJ-45 Ports, and two SFP Fiber-Optic Ports)

The S6L control surface provides two connections (A and B) to connect the control surface to other S6L system components. Each

connection provides an RJ-45 with etherCON connector for copper connections and an SFP transceiver module-compatible fi-

ber-optic port for fiber-optic connections, as follows:

Port A

Connects to port B on the Master 1 Network card (bottom Network card) of the E6L engine.

Port B

Connects to port A on the last Stage 64 in a configuration, providing the redundant audio network connection for the Ring

Network 1.

4 – Network Ports C and D

(Two RJ-45 Ports with etherCON Connectors)

These ports provide AVB audio network connections to system components, as follows:

Port C (Pro Tools)

Connect to a compatible Pro Tools system (or other DAW) using a supported audio network cable for integrated

Pro Tools recording, playback and interoperability. This connection supports up to 128 channels of simultaneous recording and

playback between S6L and Pro Tools. See Pro Tools Recording and Playback for more information.

Port D

Connects to a secondary compatible Pro Tools system. If only using a single Pro Tools system, use Port C.

5 – ECx Port

Connect a wireless router or a computer to this port to enable ECx remote control, and to be able to use VENUE | On-stage and

VENUE | Function Pad apps for iOS. This port does not provide AVB audio network connections. For more information see the

ECx Ethernet Control Guide

., VENUE On-Stage.pdf, or VENUE Function Pad.pdf.

Control and Ancillary

6 – USB Ports

(Two USB 3.0 ports)

Connect USB peripherals such as external touch screen USB, keyboards, bluetooth transmitters for wireless keyboards and mice,

flash drives (for data transfer), and iLoks (for plug-in authorizations) to these ports.

7 – DVI-D Display Connector

Connect a DVI-D compatible Full HD display with 1920 x 1080 minimum resolution (21.5-inch or greater touch display recom-

mended) to this port to view the external screen.

8 – MIDI In and Out Ports

Each MIDI port provides 16 channels of MIDI input and 16 channels of MIDI output to and from the system. You can send and

receive snapshot MIDI messages, receive MIDI Time Code (MTC) from external devices, and send MTC to external devices. See

Synchronization for more information.

Only one type of connection (copper or fiber-optic) can be active at a time for each port. Never connect both copper and fiber

to the same port (A or B).

For more information on audio network connections, see the VENUE S6L Installation Guide.pdf.

Each Network port has Act and Sig LEDs to indicate network status. See.Network Port Act and Sig LEDs for more infor-

mation.

S6L Control Surface Overview 44

9 – Footswitch Connectors 1–2

(2 1/4-inch TRS Connector)

Connect footswitches to these connectors. Footswitches can be normally open or normally closed, latching or momentary. Func-

tions such as Tap Tempo for delay times are assigned to these connectors using events. See Events for more information.

10 – GPI Input and Output

S6L provides eight General Purpose Interface (GPI) inputs via a male 25-pin D-Sub connector, and eight GPI outputs via a female

25-pin D-Sub connector. Functions are assigned to GPI I/O using events (See Events for more information). You can use GPI I/O

as follows:

GPI Inputs

\Connect to compatible outputs of a variety of switching devices such as footswitches, momentary or latching push-but-

ton switches, or logic outputs of a larger show control system. Example applications of GPI inputs include remote toggling of a con-

sole function such as Talkback, muting a channel, or recalling a specific snapshot.

GPI Outputs

Connect to compatible inputs found on a variety of external devices such as LEDs, small relays, power sequencers,

and logic inputs on show control systems.

11 – Linear Time Code (LTC) Input

Connect a device that generates SMPTE Linear Time Code to this port to enable features such as automated recall of snapshots. The

LTC input reads SMPTE LTC in either direction (forwards or backwards), and automatically detects 24, 25, 30 non-drop, and 30

drop-frame FPS. The S6L system’s sample rate cannot be locked to LTC from this input.

S6L Control Surface Power Connections

S6L provides the following power connections, switches, and indicators:

1 – Power Switch(es)

These switches power S6L on and off, as follows:

Applies power to each PSU in the S6L-32D and 24D, and launches system software. On S6L-24C, each PSU has its own Power

switch. S6L must be connected to a powered-up E6L engine for the system software to fully launch.

Off

Powers down the corresponding control surface PSU(s). VENUE software must be shut down properly from the Options >

System page of the external screen before turning the power switch to off (0). See Powering the System Up and Down.

2 – AC Power Inlets A and B

Connect either one of these inlets to an AC power source to provide power to both PSUs. Connect each power inlet to a discrete

power source for AC source redundancy.

For more information on GPI I/O, including pin-out diagrams, see GPI Port Reference.

Control surface back panel: S6L-32D and 24D (shown at left), S6L-24C and 16C (shown at right)

OKOK

1 1

2 2

S6L Control Surface Overview 45

3 – PSUs

S6L-32D and 24D control surfaces provide dual-redundant hot-swappable PSUs with automatic failover. Each PSU provides an

On LED that lights green when the PSU is powered on and functioning properly. S6L-24C and S6L-16C provide dual redundant,

internal PSUs.

S6L Front Panel Features

USB 3.0 Port

Connect USB peripherals such as keyboards, bluetooth transmitters for wireless keyboards and mice, flash drives (for data trans-

fer), and iLoks (for plug-in authorizations) to this USB port.

Phones A (Left) and B (Right)

S6L-32D/24D/24C control surface provide two discrete headphone outputs, Phones A (left) and Phones B (right), each with its own

volume knob. S6L-16C provide a single headphone output. The Monitor buses feed the Phones outputs, and you can assign the

Monitor Bus (A or B) that feeds each Phones output on the

Options > Buses page of the external screen.

Phones volume is controlled using the corresponding Phone volume knob, though the level sent to each Headphone output is in part

determined by the overall level settings (such as Level Trim and Monitoring level) for the Monitor Bus that is feeding the particular

Phones output. Monitor Bus A and B controls are provided in the Monitoring section of the MLM, and on the Options > Buses

page of the external screen.

S6L Interior Secure USB Port

One USB 2.0 port is located within the S6L control surface to connect and securely protect an iLok Smart Key. Use this port to keep

one “master” iLok and its plug-in assets with the console at all times, safe from damage or loss.

S6L-24C/16C Console Lamp Ports

The S6L-24C and S6L-16C provide two ports on the top panel for connecting goose-neck console lamps. These ports are 3-pin

XLR and require LED lights. Brightness can be controlled from the Options > Interaction page of the external screen.

If the On LED does not light when the S6L is powered up, the PSU is faulty and may need to be replaced. For instructions on

removing and replacing PSUs, see

Replacing S6L and E6L PSUs

For more information on monitoring, see Soloing and the Monitor Buses.

The back cover of the S6L must be removed to access the secure USB port. For instructions see

S6L Secure USB Port.

Console lamp connectors on S6L-24C and S6L-16C (24C shown)

S6L-32D and 24D provide a built-in light bar instead of support for external console lamps. Light bar brightness can also be

adjusted from the Options > Interactions page.

Light Light

E6L Engine Overview 46

E6L Engine Overview

The E6L engine provides the real-time processing engine for input and output channels, and Pro Tools | HDX DSP processing

card(s) for AAX DSP plug-ins. The E6L engine also provides audio network, synchronization, and utility connections. All E6L en-

gine models provide the same connection capabilities.

E6L Cards and Features

You can install the following expansion cards in E6L engines.

HDX-192 DSP Expansion Cards

Each E6L engine provides a single HDX DSP card in its basic configuration. E6L-192 engines support up to four HDX DSP Ex-

pansion Cards, for increased plug-in processing. E6L-144 and E6L-112 engines support up to two HDX DSP Expansion Cards. For

installation instructions, see the HDX-192 DSP Installation.pdf.

AVB-192 Network Card

Each E6L includes one AVB-192 Network Card for connecting the E6L to other components in the system. You can add a second

AVB-192 card to expand the IO capability of the system, and to connect multiple systems to utilize I/O Sharing. For installation

instructions, see the AVB-192 Network Card.pdf.

MADI-192 MADI Option Card

The MADI-192 MADI Option Card is a high-channel-count MADI audio interface card for E6L engines. Each MADI-192 MADI

Option Card provides four MADI BNC connectors (2x coaxial in, and 2x coaxial out). Each pair of coaxial MADI inputs and out-

puts support up to 32 channels per I/O pair.

Up to four MADI Option cards can be installed in an E6L-192 or E6L-144 engine. Up to two MADI Option cards can be installed

in an E6L-112 engine. For installation instructions, see the MADI-192 MADI Card Installation guide.

WSG-HD Waves SoundGridOption Cards

The WSG-HD Waves SoundGrid Option Card from Avid lets you integrate Waves SoundGrid processing directly into your

VENUE | S6L mixes. Once the WSG-HD Card is installed in your E6L engine, plug-ins hosted on the Waves SoundGrid server ap-

pear on the VENUE Plug-Ins screen inside of the Waves SoundGrid Rack plug-in (up to 8 plug-ins per instance of SoundGrid

Rack). Up to two compatible Waves SoundGrid servers can be connected simultaneously for redundancy with automatic fail-over.

At the time of this writing, all E6L engines support a single WSG-HD card. In E6L-112 engines, either a single WSG-HD card or

a second MADI-192 MADI Option card can be installed. For installation instructions, see the

WSG-HD Card Installation guide.

While in use, the E6L engine must be oriented horizontally, with the bottom of the engine facing downwards.

Each MADI-192 MADI Option Card also has a single BNC Word Clock Output connector. At the time of this writing, the

Word Clock Output connector is not supported and should not be used.

E6L Engine Overview 47

E6L Front Panel

The front panel of the E6L engine provides the following controls, connections and indicators:

1 – Status and System LEDs

These LEDs indicate the current status of the E6L engine, as described in the following table.

2 – Shutdown (Reset)

This button shuts down the software on the E6L engine. Only use this button to shut down the E6L if the engine has been discon-

nected from an S6L control surface and cannot be shut down via the Shut Down button on the Options > System page of the ex-

ternal VENUE software screen, or for troubleshooting purposes. See

E6L Engine Emergency Shutdown for more information.

3 – USB

Use these ports for installing system software and for troubleshooting and maintenance only. See

Using the System Restore

Software for more information.

E6L engine front panel

Status and System LEDs

LED Color State Description

Status

Green Solid All clear (no hardware alerts are detected).

Amber Solid

One or more hardware alerts are detected.

Consult the VENUE software Options > Devices page for detailed info.

Off (unlit) n/a E6L is powered off, or is initializing during startup.

System

Green Solid E6L is fully operational, and connected to the S6L control surface

Amber

Solid E6L processor has shut down; safe to power off E6L.

Flashing E6L processor is initializing.

Off (unlit) n/a E6L is powered off, or is initializing during startup.

STATUS

SYSTEM

SHUTDOWN

E6L Engine Overview 48

E6L Back Panel

E6L Engine Audio, Control, and Synchronization Connections

The E6L engine provides the following back-panel connections:

1 – Network (AVB-192 Network Card Slots)

These slots contain AVB-192 Network cards. Each AVB-192 card provides two AVB audio network connections (A and B) to con-

nect the control surface to other S6L system components. Each connection provides an RJ-45 with etherCON connector for copper

connections and an SFP transceiver module-compatible fiber-optic port for fiber-optic connections. Only one connection type

(copper or fiber-optic) can be active for each audio network connection.

2 – Expansion Card Slots

The back panel of the E6L engine provides eight half-length PCIe slots for Option cards such as the MADI-192 MADI Option

Card. Slots 1–5 are at the lower right and slots 6–8 are in the middle (below the AVB slots). At the time of this writing:

• Up to four MADI-192 MADI Option cards can be installed in slots 1–4 in an E6L-192 or E6L-144.

• A single WSG-HD card can be installed in any E6L. In E6L-192 and E6L-144, the WSG-HD card must be installed in Option

slot 6. In E6L-112 (only), the WSG-HD card must be installed in AVB Network slot 3.

For information on supported Option cards, visit

https://www.avid.com/products/venue-s6l-system.

E6L engine back panel (E6L-192/144 shown; E6L-112 back panel varies slightly as noted below)

Never connect both copper and fiber simultaneously to the same port (A or B).

AVB / Network Card Slots Description

Master 1

The AVB-192 Network card installed in this slot is the “master” AVB Network card in an S6L system.

When no other AVB-192 Network Cards are installed, its Network port B must be connected to the S6L

control surface. Port A on this card provides Ring 1 audio network connections to Stage I/O units.

This slot can contain a second AVB-192 Network card to expand Stage IO capacity, and to utilize I/O

sharing and gain tracking.

On E6L-112 engines (only) this slot can contain either a second MADI-192 MADI Option card, or a

WSG-HD Waves SoundGrid Option card. This slot is not supported in E6L-192 or E6L-144 engines.

For more information on audio network connections, see the VENUE S6L Installation Guide.pdf.

OUT

WORD CLOCK

UTIL

EXPANSION

AVB-192

ACT SIG ACT SIG

UTI

E6L Engine Overview 49

3 – Word Clock In and Out

(Two 75 Ohm Coaxial BNC Connectors)

These ports let you connect to the word clock ports of external digital devices to sync all digital devices in your system.

4 – Utility

(One RJ-45 Port, one VGA Display Port, and two USB 2.0 Ports)

Use these ports for installing system software and for troubleshooting and maintenance only. See

Using the System Restore

Software for more information.

E6L Engine Power Connections

E6L provides the following power connections, switches, and indicators:

1 – Power Switch(es)

These switches power E6L on and off, as follows:

Applies power to each PSU in the E6L-192 and E6L-144, and launches system software. On E6L-112, each PSU has its own

Power switch. S6L must be connected to a powered-up E6L engine for the system software to fully launch.

Off

Powers down the corresponding control surface PSU(s). VENUE software must be shut down properly from the Options >

System page of the external screen before turning the power switch to off (0). See Powering the System Up and Down.

2 – A and B AC Inlets

Connect either one of these inlets to an AC power source to provide power to all three PSUs. Connect each power inlet to a discrete

power source for AC source redundancy.

3 – PSUs

E6L-192 and E6L-144 engines provide three hot-swappable PSUs with automatic failover. Two PSUs are required to run the E6L

engine, and the third is a redundant PSU. Each PSU provides an On LED that lights green when the PSU is powered on and func-

tioning properly. E6L-112 provides dual redundant, internal PSUs.

See

Clock Synchronization Overview for more information.

E6L engine PSUs; E6L-192 and E6L-144 (shown at left) and E6L-112 (shown at right)

Do not power off the E6L engine until the Status LED is unlit and the System LED lights amber.

If the On LED does not light when the E6L is powered on, the PSU is faulty and may need to be replaced. For instructions on

removing and replacing PSUs, see

Replacing S6L and E6L PSUs.

OKOKOK

Stage and Local I/O Rack Overview 50

Stage and Local I/O Rack Overview

Stage I/O units for S6L systems include Stage 64, Stage 32, and Stage 16.

Stage 64

Stage 64 is modular, and can be configured with a variety of I/O cards. Stage 64

supports up to eight input cards and four output cards, for a total of up to 64 in-

puts and up to 32 outputs (analog or digital).

Stage 64 also provides features such as the Stage 64 Menu with programmable

options and a corresponding display, MADI outputs, word clock output, as well

as a built-in confidence monitor with level control.

Stage 32

Stage 32 is also modular, and lets you connect up to 32 analog, digital, and/or

Dante inputs or outputs in a 5U rack. Integrating Stage 32 into S6L systems re-

quires dual AVB-192 Network Cards in the E6L Engine. Each Stage 32 sup-

ports up to a maximum 32 channels of inputs or outputs or a combination of

both. You can customize Stage 32 with any of the same analog I/O, digital I/O,

and Dante card options available for Stage 64, including SRI-192 Analog Input

cards, SRO-192 Analog Output cards, DSI-192 Digital Input cards, DSO-192

Digital Output cards, and DNT-192 Dante Option cards. Stage 32 also provides

MADI outputs.

Stage 16

Each Stage 16 provides 16 analog inputs, 8 analog outputs, and 4 digital out-

puts. Integrating Stage 16s into S6L systems requires dual AVB-192 Network

Cards in the E6L Engine.

Local 16

Local 16 lets you expand your local I/O capabilities, or add primary local I/O if

mixing on the S6L-16C control surface, by providing 8 XLR mic/line inputs, 8

XLR outputs, 4 pairs of XLR stereo AES/EBU inputs (8 channels total), and 4

pairs of XLR stereo AES/EBU outputs (8 channels total), similar to that on

S6L-32D/24D/24C control surfaces. Up to two Local 16 units can be connected

on the local (console) S6L AVB Network ring when using S6L-16C. A single

Local 16 can be used with other S6L systems. Integrating Local 16s into S6L

systems requires dual AVB-192 Network Cards in the E6L Engine.

For example configurations, requirements, and connection diagrams see the VENUE S6L Installation Guide.pdf.

Stage 64

Stage 32

Stage 16

Local 16

Stage and Local I/O Rack Overview 51

Stage 64 and Stage 32 I/O Card Features and Capabilities

You can install variety of analog and digital I/O cards in Stage 64 and Stage 32. You can purchase a pre-configured unit and modify

card configurations, or purchase an empty Stage 64 or Stage 32 and configure your rack as desired. For instructions on installing

I/O cards, see the

S6L Stage I/O Card Installation Guide (for Dante card installation, see the DNT-192 Network Card.pdf).

SRI-192 Analog Input Card

• Eight channels of analog mic/line inputs via XLR-3 female connectors

• +48V phantom power, 20 dB pad, and phase reverse (all selectable per channel via the control surface and VENUE software)

• Signal and phantom power LEDs for each channel

• 24-bit A/D conversion, up to 192 kHz sample rate

DSI-192 Digital Input Card

• Eight channels of digital inputs via four two-channel AES/EBU XLR3-female connectors or a single ADAT TOSLINK opti-

cal connector

• Automatic sample rate conversion (SRC) and detection on input; manually defeatable for lowest possible input latency

• SRC and Lock status LEDs for both AES and ADAT connections

• Word clock output for synchronizing external digital devices

SRO-192 Analog Output Card

• Eight channels of analog line outputs via male XLR-3 connectors

• Automatic muting for system protection

• Signal and Mute LEDs for each channel

• 24-bit D/A conversion

DSO-192 Digital Output Card

• Eight channels of digital outputs via four two-channel AES/EBU XLR3-male connectors and/or a single ADAT TOSLINK

optical connector

• Simultaneous output to both AES/EBU outputs and ADAT optical output

• Automatic muting for system protection

• Signal and Mute LEDs for each AES/EBU channel pair

DNT-192 Network Card

• Sixteen channels of digital input or output, or eight input and eight output channels (Stage 64 only), for connecting to Dante

network devices.

See Working with DSI-192 Digital Inputs for information on working with DSI ADAT and SRC functionality.

Stage and Local I/O Rack Overview 52

Stage 64 Front Panel

The front panel of the Stage 64 provides I/O card slots for I/O cards, and the Stage 64 Controller.

I/O Card Slots

1 – Slots A–H (Input Cards)

Install up to eight of any combination of SRI-192 and DSI-192 input cards, or up to four DNT-192 cards, in these slots.

2 – Slots J–M (Output Cards)

Install up to four of any combination of SRO-192 and DSO-192 output cards, or up to two DNT-192 cards in these slots.

Stage 64 front panel (48 x 8 configuration shown

A single DNT-192 card can also be installed in slots H and J, providing eight input and eight output channels. For more informa-

tion, see the DNT-192 Dante Option Card.pdf.

5 6

ABCD EFGHJKLM

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

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1 2

Stage and Local I/O Rack Overview 53

Stage 64 Controller

All Stage 64 I/O racks include a Controller. The Controller provides the following features:

1 – Status and Fault LEDs

These LEDs provide the following indications:

STATUS

Indicates the current status of the audio network connection to the Stage 64 Network ports.

FAULT

Indicates the current status of the Stage 64 hardware, such as fan and internal temperature.

2 – Stage 64 Controller Display

This display shows the current settings of the Stage 64 (via the HOME page), and provides access to var-

ious pages of Stage 64 parameters. For more information see Stage 64 Controller Display.

3 – Display Selector

This knob lets you navigate through the pages and change the configurable settings provided in the display.

4 – Back

This button lets you back out of the pages and sub-pages provided in the display.

5 – Solo

This switch sends the channel selected in the Controller Menu to the Stage 64 Headphones output.

6 – Headphones

This section provides a 1/4-inch stereo jack and a level control to monitor Stage 64 input and output chan-

nel signals. For more information see

Using the Stage 64 Confidence Monitor.

7 – Word Clock In and Out

(Two 75 Ohm Coaxial BNC Connectors)

The Word Clock Out port provides S6L system word clock output to sync external digital devices to the

S6L system.

8 – MADI Out 1 and 2

(Two 75 Ohm Coaxial BNC Connectors)

MADI Outs 1–2 provide fixed one-for-one digital splits of up to 64 inputs from the Stage 64. For more information, see

Using

MADI Outs on Stage 64 and Stage 32.

9 – Network A and B

(Two RJ-45 Ports with etherCON Connectors and two SFP module-compatible fiber-optic ports)

Stage 64 provides two connections (A and B) to connect Stage 64 to other S6L system components. Each connection provides an

RJ-45 with etherCON connector for copper connections, and an SFP module-compatible fiber-optic port for fiber-optic connec-

tions.

See

S6L System Components LED Codes for more information on LED codes.

The Word Clock In port is not functional.

S6L system digital inputs also provide sample rate conversion (SRC) for synchronizing digital inputs.

See

Synchronizing AES/ADAT Digital Audio Inputs (SRC) for more information.

Only one type of connection (copper or fiber-optic) can be active at a time for each port. Never connect both copper and fiber

to the same port (A or B).

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Stage and Local I/O Rack Overview 54

Making Stage I/O Unit Connections

Connecting and Assigning Stage I/O Units

Physically connect Stage I/O units to the AVB-192 cards in the E6L engine, and connect input sources and output destinations to

the I/O installed in your Stage I/O units. Once connected and powered on, assign Stage I/O units in the Options > Devices page

of the external VENUE software screen to available Stage slots. See the VENUE S6L Installation Guide.pdf for more information.

Patching Stage I/O

Once you have assigned Stage I/O units to Stage slots, you can then patch Stage I/O to VENUE system channels under the Stage

1–6 tabs in the VENUE Patchbay.

• To patch Stage inputs to VENUE system channels, see Patching Input Sources to Input Channels.

• To patch outputs, see Patching Output Channels to Hardware Outputs.

Stage 64 Controller Display

The Stage 64 Controller display provides pages and menus from which you can view and adjust Stage 64 parameters. The HOME

page provides an overview of the current status of various Stage 64 parameters. The main MENU provides access to the MONITOR,

SETTINGS, MUTE, and STATUS menus, from which you can access various Stage 64 parameters, including the built-in confi-

dence monitor for monitoring individual Stage 64 inputs and outputs.

Stage 64 Controller Display HOME Page

The HOME page provides an overview of the current status of the Stage 64, as follows:

Name

Shows the name given to the Stage 64. You can name the Stage 64 from the Options > Devices page of the external VENUE

software screen, or from the Controller Menu Settings page.

Net OK/ERR

Shows the current status of the audio network connection to the Stage 64 Network ports. OK mirrors a lit-green STA-

TUS LED, and ERR mirrors a lit-red STATUS LED.

HW OK/ERR

Shows the current status of the Stage 64 hardware. OK mirrors a lit-green STATUS LED, and ERR mirrors a lit-red

STATUS LED.

Sample Rate

Shows the current S6L system sample rate.

Mon On/Off

Shows the current on/off status of the built-in Confidence Monitor.

MADI On/Off

Shows the current on/off status of the Stage 64 MADI Outs.

Controller Menu HOME page

HOME

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Stage and Local I/O Rack Overview 55

Controller Main MENU

The main MENU lets you access the MONITOR, SETTINGS, and MUTE menus (via page 1), and the STATUS menu (via page 2).

To access the MENU page 1 (MENU 1/2):

 From the HOME page, press the Display Selector.

Controller MONITOR Menu

The MONITOR menu lets you target a Stage 64 input or output channel for monitoring using the Headphones output on the Stage

64. See Using MADI Outs on Stage 64 and Stage 32 for more information.

Using the Stage 64 Confidence Monitor

You can monitor signals from individual Stage 64 inputs and outputs using the Stage 64 Headphones output. Use this to trouble-

shoot individual inputs and outputs connected to the Stage 64.

To use the Stage 64 Confidence Monitor:

1 Connect a pair of headphones to the Headphones output on Stage 64.

2 From the HOME page, press the Display Selector.

3 Select MENU 1/2 so it is highlighted, and press the Display Selector.

4 Rotate the encoder so MONITOR is highlighted, then press the Display Selector. The first input of the input card installed in slot

A is shown in the display (A1-01), where A1 denotes card slot A connector 1, and 01 denotes the VENUE system channel that

hardware input or output is assigned to. If the channel is assigned in the VENUE Patchbay, the name of the channel appears un-

derneath.

5 Rotate the Display Selector to scroll through the I/O card slots until you locate the desired channel.

6 Press SOLO so it lights, then adjust the volume using the Headphone level control, located above the Headphones output.

7 To disable the Headphone output, press SOLO so it is unlit.

Main MENU page 1

Monitor screen showing the first input of the input card in slot A

MENU 1/2

MONITOR

SETTINGS

MUTE

MONITOR

Kick

A1-01

Stage and Local I/O Rack Overview 56

Controller SETTINGS Menu

The SETTINGS menu provides two pages (SETTINGS 1/2 and SETTINGS 2/2) of configurable Stage 64 parameters, including

MADI Out and confidence monitor settings. You can also name and reset the Stage 64.

To access the SETTINGS menu:

1 From the HOME page, press the Display Selector.

2 Select MENU 1/2 so it is highlighted, and press the Display Selector.

3 Rotate the encoder so SETTINGS is highlighted, then press the Display Selector. The first SETTINGS page is shown

(SETTINGS 1/2).

The Settings menu provides the following parameters:

Naming the Stage 64

To name the Stage 64 from the Stage 64:

1 With SETTINGS 1/2 highlighted, press the Display Selector to access the second SETTINGS page (SETTINGS 2/2).

2 Rotate the Display Selector so DEVICE is highlighted, then press the Display Selector.

3 Rotate the Display Selector so the field under NAME is highlighted, then press the Display Selector. The cursor under the first

character appears.

4 Do any of the following to enter characters (up to a 32 character maximum)

• Rotate Display Selector to cycle through the available characters.

• Press the Display Selector to enter the selected character and move the cursor to the next position.

• Press and hold the Display Selector to move the cursor to the previous position.

5 When you have finished entering a name, press BACK once.

6 Do either of the following:

• To apply the new name, scroll the Display Selector to highlight APPLY, then press the Display Selector.

• To cancel, scroll to highlight CANCEL then press the Display Selector.

SETTINGS menu parameters

SETTINGS Menu

Page

SETTINGS

Menu Options

Parameters Description

Page 1 (1/2)

NETWORK

n/a (only adjust when instructed to do so

by Avid customer support)

View Stage 64 DHCP setting, and MAC

and IP addresses

MADI Out SPLIT ON/OFF Toggle Stage 64 MADI Outs on/off

SRC 48 kHz or 96 kHz Set the MADI Outs sample rate

MONITOR MONITOR ON/OFF

Toggle confidence monitor on/off (default

is ON)

Page 2 (2/2) DEVICE

NAME Change the name of the Stage 64

RESET Resets the Stage 64 to default settings

Changing any NETWORK settings on the SETTINGS menu may render your Stage 64 incapable of connecting to other S6L system

components. Only adjust these settings when troubleshooting with Avid customer support.

You can also name the Stage 64 on the Options > Devices page of the external VENUE software screen. See

Devices for more

information.

Stage and Local I/O Rack Overview 57

Resetting Stage 64

To reset the Stage 64 from the Stage 64:

1 With SETTINGS 1/2 highlighted, press the Display Selector to access the second SETTINGS page (SETTINGS 2/2).

2 Rotate the Display Selector so DEVICE is highlighted, then press the Display Selector.

3 Rotate the Display Selector so RESET is highlighted, then press the Display Selector.

Controller MUTE Menu

The MUTE menu lets you mute all the outputs on Stage 64.

When a Stage 64 is used in an I/O sharing configuration, note that muting from the Controller MUTE menu mutes all outputs on

that Stage 64.

To mute/unmute Stage 64 outputs from the Stage 64.

1 From the HOME page, press the Display Selector.

2 Rotate the Display Selector so MUTE is highlighted.

3 Press the press the Display Selector. The MUTE menu is shown.

4 Rotate the Display Selector so MUTE ALL is highlighted. Press the Display Selector to toggle MUTE ALL on/off. The Mute

LEDs on all output connectors in the Stage 64 light when they are muted.

Controller STATUS Menu

The STATUS menu is accessed from the second page of the main MENU.

To access the STATUS menu:

1 From the HOME page, press the Display Selector. MENU 1/2, MONITOR, SETTINGS, and MUTE are shown in the display.

2 With MENU 1/2 highlighted, press the press the Display Selector to access the second MENU page (MENU 2/2).

Main MENU page 2

MENU 2/2

STATUS

Stage and Local I/O Rack Overview 58

3 Rotate the Display Selector so that STATUS is highlighted, then press the knob. The STATUS menu is shown, and provides

pages of options detailing the current status of the Stage 64, as follows:

STATUS menu parameters

STATUS Menu

Pages

Parameter Status Description

NETWORK

STATUS

CONN

Valid communication exists between this Stage 64 and other

S6L devices on the network

ERR

No communication exists between this Stage 64 and other

S6L devices on the network

LINK SPEED

10 Current network speed is 10mbit/second

100 Current network speed is 100mbit/second

1000 Current network speed is 1000mbit/second

PORT

COPPER RJ45 Network port is the active audio network port

OPTICAL The fiber-optic Network port is the active audio network port

HW MONITOR

FAN SPEED <n> RPM Internal fan speed in revolutions per minute

TEMP 1 <n> c PSU 1 temperature in Celsius

TEMP 2 <n> c PSU 2 temperature Celsius

FIRMWARE

Board 1 Firmware Version Current firmware version for AVB Network card

Board 2 Firmware Version Current firmware version for AVB Network card

Stage and Local I/O Rack Overview 59

Using MADI Outs on Stage 64 and Stage 32

The two MADI Out connectors on the Stage 64, and the single MADI Out on Stage 32, provide fixed one-for-one digital splits of

input channels from the corresponding unit (up to 64 input channels from Stage 64, and up to 32 from Stage 32) at a 48 or 96 kHz

sample rate. These let you connect an external MADI device such as a Pro Tools | HD MADI without needing to configure the

VENUE software Patchbay. You can enable and disable the MADI Outs on a per Stage unit basis.

Channel assignments for each Stage 64 MADI Out are as follows:

The single MADI Out port on Stage 32 carries up to 32 input channels (depending on Stage 32 I/O configuration) regardless of sam-

ple rate.

Configuring Stage 64 and Stage 32 MADI Outs

You can set the sample rate of Stage 64 and Stage 32 MADI outs from the external screen. You can toggle the MADI Outs on/off

and set the sample rate from the Stage 64 Controller.

Setting the MADI Outs sample rate from the external screen:

1 Put the system into Config mode by pressing the Config switch on the control surface MLM so it is lit (see

Enabling Config

Mode for more information).

2 On the external screen, go to the Options > Devices page.

3 In the Available Devices or Connected Devices column, select the Stage 64 or Stage 32 whose MADI sample rate you want to

adjust so it is highlighted in blue.

4 In the Information section, select the Settings tab.

5 Under MADI, select the Sample Rate pop-up menu and choose the desired sample rate.

Configuring Additional Stage 64 MADI Out Settings

To configure Stage 64 MADI Outs from the Stage 64 Controller:

1 Press and hold Back to make sure the Stage 64 Controller Home page is shown in the display.

2 Press the Display Selector once, so page 1 of the Menu is shown in the display.

3 Rotate the Display Selector to the right so Settings is highlighted, then press the Menu Selector so the Settings menu is shown.

4 Rotate the Menu Selector to the right so MADI SPLIT is highlighted, then press the Menu Selector so the MADI Split menu is

shown.

5 To toggle the MADI Outs on/off, do the following:

• Rotate the Display Selector to the right so SPLIT is highlighted.

• Press the Display Selector so ON or OFF appears next to SPLIT.

6 To set the sample rate of the MADI outs:

• Rotate the Display Selector to the right so SRC is highlighted.

• Press the Display Selector so the desired sample rate appears in the display (48 kHz or 96 kHz).

Sample Rate MADI Out Channel Assignments

48 kHz

Out 1

Stage 64 inputs 1–64

Out 2

Stage 64 inputs 1–64

96 kHz

Out 1

Stage 64 inputs 1–32

Out 2

Stage 64 inputs 33–64

The pickoff point for MADI Outs splits is post-pad, post-analog gain, and pre-digital gain.

Part II: Using S6L

Configuring System Audio 61

Configuring System Audio

The chapter describes how to do the following basic system configuration tasks:

•

Powering the System Up and Down

• Confirming System Components

• Pairing the E6L and S6L

• Enabling Config Mode

• Assigning Stage I/O Units

• Assigning Local 16

• Setting the System Clock

• Configuring Mains and Mix Buses

• Managing Connections

For complete hardware and software installation instructions. the VENUE S6L Installation.pdf.

Configuring System Audio 62

Powering the System Up and Down

Use the following instructions to power the system up and down for regular, day-to-day start up and shut down after the system(s)

have been connected and configured as explained in the VENUE |S6L Installation Guide.

Make sure you have installed the most recent VENUE software.

Power up the system in the following sequence:

1 If more than one system is connected for I/O Sharing, do the following steps for the Clock Master system first.

2 If applicable, power on routers for use with ECx remote control.

3 Power on any connected computers for recording/playback.

4 Power on the connected video monitor.

5 Power on the E6L engine by pressing the power switch(es) on the back to the on (1) position. On the front panel of the E6L en-

gine, the front-panel LEDs light as follows:

• Status LED lights green.

• The System LED begins to flash amber while the E6L is waiting to connect to the S6L control surface, then turns green when

connection is complete.

6 Power on the S6L control surface by pressing the power switch on the back panel

to the on (1) position.

The LEDs on each of the S6L’s PSUs light green, and Avid logos appear on the

Master Touch Screen (MTS), the Channel touch Modules (CTMs) (if present),

and the external screen while the system initializes.

If you are powering up the system for the first time, or the S6L control surface is

connected to a different E6L engine than it was previously connected to, the

Please Select Engine screen appears on the MTS when initialization is complete.

If the Please Select Engine dialog appears, complete the rest of these power up instructions and then proceed to

Confirming Sys-

tem Components.

If you have not installed the most recent VENUE software, or if on initial power-up S6L prompts you to update your system,

go to the Avid account linked to your S6L purchase to download the latest software and plug-in installers. Instructions for in-

stalling VENUE software are provided in the VENUE | S6L Installation Guide, available as a PDF in your Avid account.

Make sure no VGA monitor, mouse, keyboard, or internet is connected to the E6L engine before powering up your S6L system.

Please Select Engine Screen on the MTS

If the E6L engine has not fully initialized by the time the S6L control surface has initialized, “Waiting for the E6L Engine to

start...” appears in the MTS until the E6L finishes initializing.

Avid logo on-screen

Configuring System Audio 63

7 Power on the first Stage I/O unit by pressing the power switch to the On position for the PSU that is plugged into an AC power

source. Stage 64: If both PSUs are connected for redundancy, power-on both PSUs. The power switch(es) lights green and the

following occurs on the front panel of the Stage 64:

• The

Status LED lights green.

• The AVID logo appears while the device initializes.

• When initialization is complete, the Controller Menu

HOME page is shown.

8 Power on any other Stage I/O units in the system.

9 Proceed to

Confirming System Components.

Powering Down the System

Power down the system in the following sequence:

1 Turn off the audio monitoring system.

2 Turn off any connected computers for recording/playback.

3 Shut down your system by doing the following:

• Put the system into Config mode (see Enabling Config Mode).

• On the external VENUE software screen, go to the Options page and select the System tab.

•Select Shut Down.

•Select Shut Down again to confirm.

4 When the MTS and the external screen go black, power off the S6L control surface using the back-panel power switch.

5 On the front panel of the E6L engine, once the Status LED is unlit and the System LED is lit amber you can power off the E6L

using the back-panel power switch.

6 Power off any connected Stage I/O units.

Controller Menu HOME page

You can also access system Shut Down on the MTS by tapping the Gear icon in the lower right corner.

HOME

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Configuring System Audio 64

Confirming System Components

After connecting and powering up system components, you can confirm and configure system components on the

Options > Devices page of the VENUE software screen.

To confirm system components:

1 On the external screen, select the Options button.

2 Select the Devices tab.

All connected and powered on system components appear on the Devices page. The Devices page lets you connect and trouble-

shoot system components, view their status, and edit hardware settings.

• If any components do not appear, check all network connections between components, and make sure all components are

powered on.

• It is possible for some components to appear mis-identified (for example, an S6L-24C control surface might be mis-identifed

as an S6L-24D). If this occurs, right-click on the image of the mis-identified component and select the correct one from the

pop-up menu.

• If components still not appear, or error messages are displayed, see

Troubleshooting.

3 Proceed to Pairing the E6L and S6L.

Options button

Devices tab

Options > Devices tab

Configuring System Audio 65

Pairing the E6L and S6L

By default, an E6L engine automatically connects to its previously assigned S6L control surface. When assigned to an E6L, the S6L

controls the parameters associated with that E6L. After the initial assignment, an E6L will automatically attempt to reconnect to the

most recently assigned S6L. However, you can assign any E6L to any S6L on the network.

• If you are configuring a system for the first time, have just performed a System Restore, or the S6L control surface is connected

to a different E6L engine than it was previously connected to, the

Please Select Engine screen appears on the MTS (or external

screen with S6L-16C) when initialization is complete. If so, follow the instructions in

Please Select Engine.

• If your S6L control surface was already paired with an E6L engine, and that E6L engine is detected on the network, the system

will startup as usual and automatically connect. If so, proceed to

Assigning Stage I/O Units. If your configuration has not

changed and components were already paired prior to performing a Software Update, you should not need to pair them again; if

this is the case, proceed to Setting the System Clock.

• If you ever need to re-assign components, see

Managing Connections.

Please Select Engine

To pair your E6L engine to your S6L control surface, in the Engine Selection screen on the MTS do the following:

1 If you have not already done so, power on the E6L engine by pressing the power switch on the back to the on (1) position.

On the front panel of the E6L engine, the front-panel Status LED lights green and the System LED flashes amber while the E6L

engine initializes.

On the MTS, the Please Select Engine screen appears.

If multiple E6L engines are detected, all are listed.

2 In the Please Select Engine screen, select a connected E6L engine so it is highlighted in blue.

Please Select Engine Screen on the MTS (or on the external screen for S6L-16C)

If the E6L engine has not fully initialized by the time the S6L control surface has initialized, “Waiting for the E6L Engine to

start...” appears in the MTS until the E6L finishes initializing.

A selected E6L engine.

Selecting an E6L from the list of available engines (E6L-192 shown selected)

Configuring System Audio 66

3 Select CONNECT.

The MTS (or external screen with S6L-16C) indicates that the S6L control surface is waiting for the E6L engine to start. When

the devices connect, the Universe view appears on the MTS, and the Inputs page appears on the external screen.

Firmware and software updates begin on various devices in the system, as follows:

• Surface modules (the Channel Fader Modules and the Channel Knob Modules), and status is indicated on the MTS.

• S6L control surface and E6L engine Network cards, and status is indicated on the Options > Devices page of the external

screen.

• Any Channel Touch Modules (CTMs), and status is indicated on the CTMs.

4 On the external VENUE software screen, in the Console Network Card alert dialog, click Review to monitor the progress of

firmware updates.

5 If desired, give each S6L and/or E6L a unique name by doing the following:

• Enable Config mode.

•In the Options > Devices tab of the external screen, select the E6L engine or S6L control surface graphic so it is outlined in

blue.

• In the Information pane, select the

DEVICE tab.

• Touch-and-hold (double-click) the field next to Name, enter a unique name using the keyboard, then press Enter when fin-

ished.

6 Proceed to

Enabling Config Mode.

Connect button

If you have incorrectly assigned E6Ls, they must first be unassigned from the S6Ls to which they are currently assigned. See

Managing Connections.

On some systems the CTMs (if any) might indicate that you must power-cycle your system to complete software installation.

Do not power-cycle your system at this time. Wait until the instructions in this guide tell you to power-cycle the system.

During the E6L engine update, alerts are shown indicating that connection between the S6L control surface and the E6L en-

gine has been lost, and plug-in racks need reset. These alerts can be ignored, as they are a normal part of the update process.

Device names are not saved as part of Show files, they are stored in the hardware unit. In addition, you cannot rename devices

in the Standalone software.

Configuring System Audio 67

Enabling Config Mode

There are two main operating modes for the S6L system, Config mode and Show mode. Use Config mode to accomplish tasks such

as setting up your system, configuring options, loading Show files, and installing software such as plug-ins and system updates. Use

Show mode to mix your performance.

To enable Config mode, do one of the following:

1 Press Config on the S6L control surface Master Live Module (MLM). The Config switch lights, and Config is indicated in the

Mode box in the on-screen Status Bar.

– or –

• On-screen, double-tap the

Mode box in the Status Bar, located in lower-right hand corner of the screen, so that Config is shown.

The Config switch also lights.

2 Proceed to

Assigning Stage I/O Units.

Config switch on the S6L control surface MLM

Mode box showing Show mode enabled (left) and Config mode enabled (right)

VENUE | S6L

Solo Solo

Home

Config

VCAs

Outputs

Layouts

Inputs

Recall

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

8All

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

Mute Mute

Nom

Inputs/Outputs Global Controls

0.0 dB

Left

0.0 dB

Kick

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

001/011

reset all inputs

0.0 dB

CH 1

Kick

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

1-8

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

65-80

S1Cu2

001 3

P:S1C1

N:S1C3

S1Cu3

S1Cu2

Configuring System Audio 68

Assigning Stage I/O Units

When you initially configure a system, or after performing a System Restore,

you must assign Stage 64, Stage 32, and/or Stage 16 I/O units to available

Stage slots in the Options > Devices tab. Each Stage slot corresponds to a

Stage hardware tab 1–6 in the VENUE Patchbay. A banner alert is displayed

whenever the system detects one or more I/O units that are unassigned.

• If your configuration includes one or more Local 16s you must also assign

them in Options > Devices. Unlike Stage I/O, however, Local 16 is as-

signed to S6L AVB network Ring 2. Assign Stage I/O first, as explained in

the following steps, before assigning Local 16.

• If you are configuring a basic (single) system, complete the following

steps to assign Stage 64s, Stage 32s, and/or Stage 16s to E6Ls.

• If you are configuring a system connected for I/O Sharing with another S6L system, complete the following steps to assign

Stage I/O units to E6Ls and then see Using Master and Slave E6Ls in Shared I/O Configurations.

To assign Stage I/O units (refer to Figure 1):

1 Make sure the system is in Config Mode (see

Enabling Config Mode).

2 Navigate the external screen to Options > Devices.

3 If your configuration includes Stage 32 or Stage 16, configure Stage slots in the CONNECTED column by clicking to select the

slot and then choosing the appropriate device from the selector.

4 In the AVAILABLE column, select the first Stage I/O device so it is highlighted (to identify units when multiple devices are pres-

ent, see Identifying Stage I/O Units).

5 Click CONNECT.

6 Click to select a flashing Stage slot and assign the selected I/O unit to that slot.

7 Repeat for any additional Stage I/O units.

If any connected Stage I/O units do not appear in the Unassigned section, check network and power connections.

On initial power-on after performing a System Restore, firmware updates of the Stage units begin just after assigning them.

Figure 1. Assigning Stage I/O units in Options > Devices

Unassigned Stage I/O alert

Configuring System Audio 69

When using more than one type of Stage IO unit, group units by type and connect them in series in the CONNECTED DEVICES

column, such as all Stage 64(s), then all Stage 32s, then all Stage 16s. The order of Stage I/O devices in the Connected Devices col-

umn does not need to match the order of physical network connections.

Virtual Soundcheck: Important Note

Slot designation (1–6) determines where I/O appears in the Patchbay I/O tabs 1–6, which

also determines Virtual Soundcheck channel order. For example, each Stage 16 slot occupies 16 channels of Virtual Soundcheck.

However, switching any slot from Stage 64 to Stage 16 creates four available Stage 16 slots. Even if only one Stage 16 I/O unit is

physically connected and the remaining three Stage 16 slots are empty, if a Stage 64 was assigned and connected to slot 5 the

Pro Tools inputs corresponding to that Stage 64 will begin at channel 65. To avoid this, it is recommended to assign Stage 64s (if

any) to the lowest numbered slots

1–3 whenever possible, followed by any Stage 32s, followed by any Stage 16s.

8 Once firmware updates are complete, dismiss all alerts and dialogs by selecting OK in each one.

9 If desired, give each Stage I/O unit a unique name by doing the following:

• Make sure the system is in Config mode (see

Enabling Config ModeEnabling Config Mode).

• In the Options > Devices tab of the external screen, select the appropriate Stage I/O graphic so it is outlined in blue.

• In the Information pane, select the DEVICE tab.

• Touch-and-hold (double-click) the field next to Name, enter a unique name using the keyboard, then press Enter.

10 Do the following:

• If your system does not include any Local 16s, proceed to the next step on this page.

• If your system does include Local 16, proceed to Assigning Local 16.

11 Shut down your system by doing the following:

• Make sure the system is in Config mode.

• On the external VENUE software screen, go to the

Options > System tab.

•Select Shut Down, then select Shut Down again to confirm.

12 Power down all connected components by pressing their back panel power switches to the off (0) positions, and leave all com-

ponents powered-off for at least 30 seconds.

13 Power the components back on in the following order:

• E6L engine

• S6L control surface

• Any connected Stage I/O units

14 Wait for the CTMs to complete their final software update, then proceed to

Setting the System Clock.

You can reassign Stage I/O units at any time after initial software installation, and after all necessary firmware updates are

completed. If you are replacing Stage units with one of a different type, simply select and Disconnect the unwanted Stage I/O

unit in the Connected Devices list, re-assign the corresponding Stage slot if necessary, then assign the desired Stage I/O units.

See Managing Connections for additional information.

Stage unit names will appear in the corresponding tab of the Patchbay. Device names are not saved as part of Show files, they

are stored in the hardware unit. In addition, you cannot rename devices in the Standalone software.

A complete power-cycle is required before using your S6L system.

Configuring System Audio 70

Identifying Stage I/O Units

It can be helpful to identify each Stage I/O unit in the Available Devices list before assignment.

To identify Stage I/O units:

1 Make sure your system is in Config mode.

2 On the external screen, go to the Options > Devices page and locate the Available Devices column. All connected and powered

on Stage I/O units are shown in this column.

3 In the Available Devices column, select the top-most Stage 64 so it is outlined in blue. The blue outline indicates that device is

targeted for connection, and is targeted in the Information area of the Devices page.

4 In the Information area, select the Device tab so it is highlighted in blue, then select the Identify button to latch it on.

The Identify button on-screen flashes, and the Status and Fault LEDs on the front panel of the corresponding Stage I/O unit flash.

5 Select Identify again to turn it off.

If any connected Stage I/O units do not appear in the Available Devices section, check network and power connections.

The Identify button (left) and flashing Status and Fault LEDs on the corresponding Stage 64 (right)

ABCD E FGH JKL M

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

Home >

<empty-name> 96k

Net OK Mon On

HW OK MADI On

Home >

<Stage 64> 96k

Net OK Mon On

HW OK MADI On

Configuring System Audio 71

Assigning Local 16

Local 16 lets you expand your local I/O capabilities, or add primary local I/O if mixing on the S6L-16C control surface. Each

Local 16 provides 8 analog inputs, 8 analog outputs, 8 AES digital inputs, and 8 AES digital outputs in a compact, 3U rack.

Local 16 requires 2x AVB-192 Network cards be installed in the E6L engine. Unlike Stage I/O, Local 16 units are configured in

the Option > Devices page by connecting them to the

Ring 2 S6L network ring.

To assign Local 16:

1 Make sure the system is in Config Mode (see

Enabling Config Mode).

2 Navigate the external screen to Options > Devices.

3 In the NETWORK CARDS section, select Ring 2.

Ring 2 is only available when a second AVB-192 Network Card is installed in the E6L engine.

4 In the AVAILABLE column, select the first Local 16 device so it is highlighted.

5 Click CONNECT.

6 Click to select a flashing Local 16 slot in the CONNECTED DEVICES column.

7 Repeat for any additional Local 16 units.

8 Shut down your system by doing the following:

• Make sure the system is in Config mode.

• On the external VENUE software screen, go to the Options > System tab.

•Select Shut Down, then select Shut Down again to confirm.

9 Power down all connected components by pressing their back panel power switches to the off (0) positions, and leave all com-

ponents powered-off for at least 30 seconds.

10 Power the components back on in the following order:

• E6L engine

• S6L control surface

• Any connected Stage or local I/O units

11 Wait for the CTMs (if any) to complete their final software update, then proceed to

Setting the System Clock.

On initial power-on after performing a System Restore, firmware updates of the Local 16 units begin just after assigning them.

Figure 2. Assigning Local 16 in Options > Devices

A complete power-cycle is required before using your S6L system.

Configuring System Audio 72

Using Master and Slave E6Ls in Shared I/O Configurations

(Input and Output Sharing)

By default, such as when you first configure systems for I/O Sharing, connecting a Stage device to an E6L engine in the

Options > Devices page assigns ownership of all Inputs and Outputs to that E6L (in this context “E6L” is synonymous with “S6L

system”). In the following description, references to Stage 64 also apply to Stage 32 except where noted.

In shared I/O systems, the E6L to which a Stage 64 is assigned becomes the

Input Master of that Stage 64, and other E6Ls on the

network become the Input Slave of that Stage 64. Input Master status determines which E6L can manage shared I/O.

Input Master

When an E6L is the Input Master of a Stage 64, In Master is displayed on the Stage 64 graphic in the Connected De-

vices column on the Options > Devices page. I/O on the Stage 64 is available to be patched to system input and output channels

in the VENUE Patchbay, and the

Stage tabs are highlighted in green to indicate Master status, as is the channel source box on the

Inputs page on a per-channel basis.

• The Input Master system has ownership (control) of all Input slots (A–H) on that Stage 64. Individual Input slots cannot be

assigned to, or controlled by, different systems simultaneously.

• By default, the Input Master system also Claims (controls) all Output slots (J–M) on that Stage 64. The Input Master system

can assign control of Stage outputs to other systems on the network on a per-Output slot (J–M) basis from the Options > De-

vices page (see

Assigning Ownership of Output Slots).

• The Input Master system controls inputs and outputs of Stage 16s (if any). Individual Input or Output slots on each Stage 16

cannot be assigned to, or controlled by, different systems simultaneously.

Input Slave

When an E6L is Slave to a Stage 64 (for example, when another E6L on the network has already assigned a Stage 64),

In Slave is displayed on the Stage 64 graphic(s) in the Connected Devices slot on the Options > Devices page. Stage inputs are

freely available for patching. Stage outputs for that Stage 64 are grayed out in the Patchbay and the outputs are unavailable. The

Stage tabs are highlighted in yellow to indicate Slave status, as is the channel source box on the Inputs page on a per-channel basis.

In the Options > Devices page, Input and Output ownership status is indicated on the image of each device as follows (see also

IO Sharing Example):

In the Patchbay, claimed Output slots are active and available for patching. Waived Output slots are inactive (grayed) but are still

available for patching.

Stored patching to Output slots on any system on the network is unaffected by Output slot ownership. New patching is allowed to

Output slots that are not claimed, similar to other inactive destinations. When an Output patch is reassigned from another patch in

the same Show file, a confirmation dialog is displayed asking you to confirm the new assignment.

Indication and status of Stage devices in I/O Sharing configurations

Indicator

Status

In Master The system is the Input Master for that Stage device.

In Slave A different system is the Input Master for that Stage device.

Reminder: Inputs are controlled globally per Stage device; control of individual Input slots on a Stage device cannot be shared.

Out Claimed The system has claimed control of all Output slots on that Stage device.

Out Waived A different system has claimed, or been assigned, control for all Output slots on that Stage device.

Out Mixed

The system has claimed control of some, but not all, Output slots on that Stage device. A different system also has

control of some, but not all, Output slots on that Stage device.

Configuring System Audio 73

Before assigning Stage 64s in shared configurations, you should take into account the following differences in functionality be-

tween Input Master and Input Slave E6Ls for a connected Stage 64 or Stage 16 (as applicable). Unless otherwise noted, function-

ality specified for Stage 64 also applies to Stage 32.

Assigning Ownership of Output Slots

You can assign and reassign Output slot ownership in the Options > Devices page of the current Input Master system.

To reassign Stage Output ownership:

1 On the Input Master system, go to Options > Devices and select a con-

nected Stage 64 on-screen.

2 In the Information section, tap the Settings tab for the currently selected

Stage 64.

Ownership is shown as Claimed or Waived to <E6L Device Name> S6L

system.

3 From the pop-up selector for the desired Output slot, select either of the

following:

• To claim control of that slot, choose

Claim.

• To assign ownership of that slot to a different system on the network, choose Assign Ownership to <E6L Device Name> S6L

system.

Functionality Master E6L Slave E6L

Stage 64 Input Mic Preamp Control Yes (analog gain) Yes (digital trim)

Control of Stage 64 pad

Yes (analog pad) Yes (digital pad)

Control of Stage 64 phantom power Yes No

Gain Tracking n/a Yes

Routing to Stage 64 Outputs Yes No

Routing to/from local IO (Console and Engine I/O) Yes Yes

Patching Stage Inputs to Input Channels Yes Yes

Reordering Input Channels Yes Yes

Mute All Outputs functionality from GUI Yes No

Mute All Outputs status indication Yes Yes

Identify functionality from GUI Yes Yes

Identify status indication Yes Yes

Ability to rename an assigned Stage 64 Yes No

Ability to unassign a Stage 64 Yes No

For example, if you need to connect stage monitors to the Outputs on a particular Stage I/O unit, make sure to assign some or

all Output slots on that Stage I/O unit to the E6L controlling the monitor mix.

Output Slot ownership can only be assigned for Stage 64s or Stage 32s, not for Stage 16s (the Input Master always controls all

Stage 16 Input and Output slots) or Local 16.

Configuring System Audio 74

IO Sharing Example

The following diagrams show how shared Input and Output ownership is indicated on-screen when two example systems are con-

figured for IO Sharing. The two systems share three Stage 64 IO racks. In the diagrams, the corresponding Stage 64 Input and Out-

put slots are shown with matching color outlines:

• System 1 is the Input Master, and controls all inputs on Stage 1 and Stage 2. All inputs on Stage 3 are claimed by System 2.

• System 1 has claimed control of all outputs on Stage 1. All outputs on Stage 2 are assigned to System 2.

• Ownership of outputs on Stage 3 are shared; slots J and K are claimed by system 1, while slots L and M are assigned to system 2.

System 1

The figure below shows how Input and Output ownership is indicated in the Options > Devices page of system 1.

System 2

The figure below shows how Input and Output ownership is indicated in the Options > Devices page of system 2.

Patchbay

The figure below shows how ownership of specific Output slots on Stage 3 is indicated in the Patchbay on each system.

In this example, slots J and K are claimed by system 1 and slots L and M are claimed by system 2.

Indication of Input and Output ownership in Options > Devices for system 1 (shown at left)

Indication of Input and Output ownership in Options > Devices for system 2 (shown at right)

Patchbay, Outputs tab for Stage 3 on system 1 (at left) and system 2 (at right)

ABCD EFGHJKLM

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

OUTPUT

SRO-192

SIG +48V

INPUT

SRI-192

SIG +48V

SIG

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

ABCD EFGHJKLM

SIG

MUTE

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

ABCD EFGHJKLM

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG

INPUT

SRI-192

In Master

In Slave

Out Claimed

Out Waived

Out Mixed

1 2

Stage 1 Stage 2 Stage 3

ABCD EFGHJKLM ABCD EFGHJKLM

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

ABCD EFGHJKLM

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

1 2

In Master

In Slave

Out Claimed

Out Waived

Out Mixed

Stage 1 Stage 2 Stage 3

Analog Output (SRO) C

Stage 1 Stage 2 Stage 3

Analog Output (SRO) C Analog Output (SRO) W Analog Output (SRO) W

Analog Output (SRO) C Analog Output (SRO) CAnalog Output (SRO) W Analog Output (SRO) W

Stage 2Stage 2Stage 1 Stage 3

C CWW

1 2

Configuring System Audio 75

The following steps show how you would assign Stage 64 IO ownership to achieve the example configuration.

To configure the IO Sharing Example:

1 Pair each E6L to its S6L control surface.

2 On system 1 go to Options > Devices and do the following:

• Select and Connect Stage 64 1. System 1 becomes the Input Master for Stage 1.

• Select and Connect Stage 64 2. System 1 becomes the Input Master for Stage 2.

• Tap to select Stage 64 2 in the Connected column so it is outlined in blue, then tap the Settings tab in the Information section.

From the pop-up selector for Output slot J, choose Assign Ownership to <E6L Device Name> S6L system (where “E6L De-

vice Name” is the name of the E6L of system 2). Repeat for the remaining Output slots (K, L and M) on Stage 64 2. System 2

now controls all Output slots on Stage 2.

3 On system 2 go to Options > Devices and do the following:

• Select and Connect the Stage 64 3. System 2 becomes the Input Master for Stage 3.

• Tap to select Stage 64 3 in the Connected column so it is outlined in blue, then tap the Settings tab in the Information section.

From the pop-up selector for Output slot J, choose Assign Ownership to <E6L Device Name> S6L system (where “E6L De-

vice Name” is the name of the E6L of system 1). Repeat for Output slot K Stage 64 3. Output slots on Stage 3 are now shared:

System 1 controls Output slots J and K, and system 2 controls Output slots L and M.

4 Proceed to

Setting the System Clock.

Configuring System Audio 76

Setting the System Clock

When you first set up an S6L system (or after a system update or restore), make sure the system clock time, date and time zone are

set appropriately. System Clock is set on the Options page of the external VENUE software screen.

To set the System Clock:

1 On the external screen, select Options, then select the Misc tab.

2 In the System Clock section, select the Format pop-up menu to set the time for-

mat (12 Hour AM/PM or 24 Hour).

3 Select the Edit button in the System Clock section.

4 Select the Zone pop-up to choose the appropriate time zone.

5 Select each available field and enter

the appropriate data to set the time

and date.

6 Select Apply.

The new System Clock settings are

applied.

How to Proceed

• If prompted to activate Windows, refer to the instructions in the VENUE S6L Installation Guide.pdf.

• Make sure you have completed all other steps in the VENUE S6L Installation Guide.pdf to install VENUE plug-ins, optional

software, make optional connections such as Pro Tools and ECx Ethernet Control, and installed and configured Pro Tools and

iLok assets.

• After hardware and software installation is complete, proceed to

Configuring Mains and Mix Buses.

The system clock time can be shown in the Status bar for constant time-of-day display. For more information, see System

Clock.

If necessary, minimize (but do not Cancel) the Windows

Activation alert by touching the down arrow at the

top-right of the dialog.

On touch screens, touch in a field and slide your finger up or down on the screen to increase or decrease the value in the field.

Configuring System Audio 77

Configuring Mains and Mix Buses

After assigning Stage I/O units you can configure the Mains bus and the Mix Buses on your system. Bus configurations are stored

with the Show file, so when you load a different Show file the bus configuration may change if bus configurations in the newly

loaded Show file differ from the previous bus configurations.

Configuring the Mains Bus

The Mains bus can be configured to operate as either of the following:

L–R plus Mono

Pans signals between the left and right channels to the L–R bus, and sums signals to a separate mono bus.

L–C–R

Pans signals across left, center and right channels. You can the amount of center-panned signal that is sent to the center out-

put (see Panning (Mains Center Divergence)).

To configure the Mains bus:

1 Put the system into Config mode.

2 On the external screen, go to Options > System.

3 Select Edit.

4 In the Mains Bus section, select L-R plus Mono or L-C-R.

5 Select Apply (or select Cancel to cancel the operation). The system restarts with the new Mains bus configuration

Audio is interrupted when a System Configuration setting is applied. Do not change these settings during a performance.

Options > System Edit button

L-C-R selected as Mains bus configuration

Apply and Cancel buttons.

Configuring System Audio 78

Configuring Mix Buses

You can choose the total number of Mix buses available on the system (up to the maximum available Mix buses), and you can con-

figure the Mix buses to provide only Aux buses, or combinations of Aux and Group buses. Setting the number of Mix buses to only

the number you need can reduce clutter on the various screens, but doing so has no effect on processing bandwidth.

To configure the Mix buses:

1 Put the system into Config mode.

2 On the external screen, go to Options > System.

3 Select Edit.

4 Do any of the following:

• From the Total Mix Buses pop-up, chooses the total number of Mix buses you want your system to provide.

• To include Groups in your configuration, from the Group Buses pop-up choose the number of Mix buses you want to desig-

nate as Groups.

5 Select Apply. The system restarts with the new bus configuration.

Data Cleared When Changing Bus Configurations

When the bus configuration is changed, settings for Groups are cleared (or set to default) from all current settings and from all

stored snapshots.

Graphic EQ and/or channel EQ settings may be lost when configuring Mix buses, so save any important EQ settings before re-

configuring. Input Channel, EQ, and Dynamics Presets

Total Mix Buses pop-up menu (left), and the Group Buses pop-up (right)

A new default file OnStagePasswords.example.txt is created on the S6L control surface D: drive whenever the us configura-

tion is changed. This will not change any currently active On-Stage passwords, but the new bus configuration will be reflected

in the newly generated “example” txt file. For more information, see the VENUE On-Stage.pdf.

Configuring System Audio 79

Managing Connections

After initial setup, devices on the network can be named and renamed, reassigned, and removed.

Naming System Components

You can name the S6L control surface, the E6L engine, and any connected and assigned Stage I/O devices. The device name is

stored with the respective device, and stays with that device until it is changed. Names can be changed at any time. Though not re-

quired, naming components is highly recommended.

To name S6L system components:

1 In the Options > Devices tab of the external screen, select the component graphic so it is outlined in blue.

2 In the Information list, select the DEVICE tab.

3 Touch-and-hold (double-click) the field next to Name, then enter a unique name using the keyboard, then press Enter when fin-

ished.

Managing Stage I/O Unit Connections

When power-cycling your system and/or reconnecting Stage I/O devices to the same E6L engine, the original Stage 1–6 assign-

ments are automatically recalled, regardless of the order in which Stage devices are connected. Depending on the hardware com-

binations being used, however, you may want or need to reconfigure system Stage I/O. You can reconfigure Stage I/O on the

Op-

tions > Devices tab any time after the initial system set up and configuration. You can reassign connected Stage I/O racks, remove

Stage I/O racks from the current configuration, and add new Stage I/O racks to the current configuration.

Reassigning a Stage I/O Rack

You can reassign a Stage device to a different Stage slot. For example, for a particular stage setup you may want to rearrange the

order of Stage 64 I/O racks as they appear in the VENUE Patchbay. Or you might want to add one or more Stage 32 or 16 I/O units.

To reassign a Stage I/O unit:

1 Put the system into Config mode.

2 Go to Options > Devices.

3 Select a Stage device in the Connected Devices column, then select the Disconnect button.

The unassigned Stage device appears in the Available Devices column.

4 Re-assign Stage I/O racks as necessary.

Configuring Stage Slots for Stage 16s, Stage 32s, or Stage 64s

When adding Stage 16s or Stage 32s for the first time, or when reconfiguring a system to use Stage 64s instead of Stage 16s or Stage

32s, you must first configure Stage slots before you can assign Stage I/O units in the Options > Devices tab. Each Stage slot cor-

responds to a Stage hardware tab 1–6 in the VENUE Patchbay.

To configure Stage slots and assign Stage 16 I/O racks:

1 Make sure your system is in Config mode.

2 On the external screen, go to the Options > Devices page and locate the Connected Devices column.

In the following sections, references to “Stage I/O devices” includes Stage 64, Stage 32, and Stage 16 (but not Local 16).

You can configure Stage slots and assign devices in VENUE Standalone Software (requires version 5.5 or higher).

Configuring System Audio 80

By default, three Stage 64 slots are displayed in the Connected Devices column.

3 Select any available slot Type selector and choose Stage 32 or Stage 16 from its pop-up menu.

Up to four Stage 16 slots, or up to two Stage 32 slots, appear in the Connected Devices column.

The number of available Stage slots that appear is determined by the number of connected Stage 64s (if any), allowing for the

maximum supported configurations to be connected. For example, when one or two Stage 64s are already connected configuring

the third available slot to Stage 16 makes four Stage 16 slots become available. When three Stage 64s are already connected, no

additional slots are available.

Connected Devices showing one connected Stage 64 in slot Stage 1 (above), and Stage slot Type selectors in slots 2 and 3 (below)

Stage 16 slots available in Options > Devices

Configuring System Audio 81

Virtual Soundcheck: Important Note

When configuring system audio in Options > Devices, it is recommended to assign

Stage 64s (if any) to the lowest numbered slots 1–3 whenever possible, followed by any Stage 32s, followed by any Stage 16s.The

order of Stage I/O devices in the Connected Devices column does not need to match the order of physical network connections. Slot

designation (

1–6) determines where I/O appears in the Patchbay I/O tabs 1–6, which also determines Virtual Soundcheck channel

order. For example, because each Stage 16 slot occupies 16 channels of Virtual Soundcheck, when switching any slot from Stage

64 to Stage 16 the 4 resulting Stage 16 slots will occupy 64 channels of Virtual Soundcheck. Even if only one Stage 16 I/O unit is

connected and three Stage 16 slots are empty, followed by slot 5 assigned and connected to a Stage 64, the Pro Tools inputs cor-

responding to that Stage 64 will begin at channel 65. To avoid this, it is recommended to assign Stage 64s (if any) to the lowest

numbered slots

1–3 whenever possible, followed by any Stage 32s, followed by any Stage 16s.

4 In the Available Devices column, select the desired Stage I/O device so it is outlined in blue.

5 Select the Connect button at the bottom of the Available Devices column.

6 In the Connected Devices columns, select a flashing Stage 16 slot to assign the selected Stage 16 to that slot.

The Stage slot is populated with the selected Stage 16, and the I/O on that Stage 16 is now available to be patched to system input

and output channels in the VENUE Patchbay under the corresponding Stage 1–6 hardware tab. For more information on using

the Patchbay, see the VENUE S6L System Guide.pdf.

7 Assign any other available Stage I/O racks as desired.

You can also right-click on the desired Stage device in the Available Devices column and assign it by selecting an available slot.

Flashing Stage slots in the Connected Devices column (left) and a Stage 16 assigned to Stage slot 2 (right)

You can reassign Stage I/O units at any time after initial software installation, and after all necessary firmware updates are

completed. If you are replacing Stage units with one of a different type, simply select and Disconnect the unwanted Stage I/O

unit in the Connected Devices list, re-assign the corresponding Stage slot if necessary, then assign the desired Stage I/O units.

Configuring System Audio 82

Removing a Stage I/O Rack

You can unassign a Stage I/O rack from your configuration. Do this if you are removing a connected Stage device from your con-

figuration, or if a Stage device from a previous configuration is not connected and you want to dismiss warning dialogs.

To remove a Stage device from the current configuration:

1 Put the system into Config mode.

2 Go to Options > Devices.

3 Do either of the following depending on the status of the Stage device:

• To remove a connected Stage device, select that device in the Connected Devices column and choose Disconnect.

• To remove a Stage device that is not connected (indicated by a greyed-out Stage device in the Connected Devices list), touch

and hold (right-click) the grayed-out Stage device and choose Forget missing Stage device.

The I/O for that Stage device is now grayed-out under the corresponding Stage 1–3 hardware tab in the Patchbay.

Managing S6L–E6L Connections in Shared I/O Configurations

After the initial setup, the next time you power on your S6L system an S6L will automatically attempt to reconnect to the most re-

cently assigned E6L. This allows for a specific S6L to always be paired with a specific E6L. The command Forget Engine is pro-

vided to manage subsequent S6L–E6L connections.

Forget Engine

Lets you disconnect the currently connected E6L from the S6L control surface. This command is useful if you have

multiple E6Ls and S6Ls that may or may not be used together regularly.

To disconnect an E6L from an S6L:

1 Enable Config Mode (see

Enabling Config Mode).

2 Go to the Options > Devices page.

3 Right-click the E6L Engine graphic and choose Forget Engine.

On subsequent restarts, the S6L will not attempt to pair with any E6Ls on the network. Any pairings to an E6L must be made man-

ually (see

Pairing the E6L and S6L).

Managing E6L–Stage I/O Connections in Shared I/O Configurations

After the initial setup, the next time you power on your system the previous Master/Slave relationships between Stage 64s and E6Ls

are maintained. If the E6L Input Master for a given Stage 64 in the network is not detected or is lost, the following dialogs are pre-

sented on the other E6L:

Master Engine Not Detected

Appears when the E6L Input Master in the previous configuration is either not powered on or is not

connected.

Master Engine Lost

Appears if the E6L Input Master is disconnected from the network, for example if the audio network connec-

tion is broken or the Master E6L loses power.

In both cases, you can choose to either maintain the current Master/Slave relationship and continue to operate as if the Master E6L

were still online (if, for example, the Master E6L has lost power), or become the Master of any Slave Stage 64s (if, for example,

you do not expect the former E6L Master to come back online). If you choose the latter option, Stage 64s must be reassigned as de-

scribed in

Reassigning a Stage I/O Rack.

Reclaiming Output Slot Ownership

Disconnecting and reconnecting a Stage 64 or Stage 32 from/to the Input Master system lets you choose whether to recall the pre-

vious ownership assignments, or to claim all Output slots.

When reconnecting the same Stage 64 or Stage 32 to the same Stage slot on the Input Master system, a dialog appears that lets you

choose to either recall Output ownership from the previous configuration, or to claim the Stage Rack as a new Stage Rack and claim

all Output slots by the Input Master system.

Configuring System Audio 83

Choose either of the following in the Reconnecting Shared Stage Rack dialog:

Yes

Connects the Stage Rack and restores Output slot ownership assignment to match the previous configuration.

Connects the Stage Rack and claims all Output slots.

Show File Compatibility

Loading Show files is unaffected by Output ownership, and functions the same as when loading Show files onto systems configured

for Shared Stage Input.

How to Proceed

To get started learning how to use the control surface, see any of the following:

• Banking Channels on the S6L Control Surface

• Selecting and Attentioning Channels

• Adjusting Channel Parameters

For overviews of the system components, see any of the following:

• S6L Control Surface Overview

• E6L Engine Overview

• Stage and Local I/O Rack Overview

To learn more about the external VENUE software screen, see External VENUE Software Screen Overview.

The S6L system comes pre-loaded with Demo show files, which offer preset system configurations for some of the most common

mixing scenarios. See

Loading a Show for instructions on loading Show files.

Banking Channels on the S6L Control Surface 84

Banking Channels on the S6L Control Surface

This chapter covers banking system channels to the channel strips on the S6L control surface, spilling Auxes, Groups and VCAs,

creating and using custom fader layouts (User Layouts), and using Bank Safe.

Channel Banking Overview

The Master Live Module (MLM) provides channel banking controls to navigate to channels beyond the number of available phys-

ical channel strips. The banking controls on the S6L control surface let you:

• Bank a combination of input and output channels (see

Banking a Combination of Inputs and Outputs)

• Bank only custom fader layouts, VCAs, input channels, or output channels (see

Banking Only User Layouts, VCAs, Inputs,

or Outputs)

• Create and recall custom fader layouts (see

User Layouts)

• Bank Safe channels, letting you “lock” channels to a fader (see

Bank Safing Channels)

Banking controls on the MLM

You can also bank channels to the external screen fader strips using on-screen tabs and buttons. See

Viewing Pages and

Tabs. Banking channels on the external screen is independent of control surface banking.

VENUE | S6L

Solo Solo

Home

Config

VCAs

Outputs

Layouts

Inputs

Flip

Recall

Trans

F1 F2 F3 F4 F5

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Encoder

Assign

Select

Clear

Tap

Tempo

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

8All

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

Mute Mute

Nom

Inputs/Outputs

Global Cont

rols

0.0 dB

Left

0.0 dB

Kick

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

001/011

reset all inputs

0.0 dB

CH 1

Kick

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

S1Cu2

001 3

P:S1C1

N:S1C3

S1Cu3

S1Cu2

Banking Channels on the S6L Control Surface 85

Banking a Combination of Inputs and Outputs

Split Banking Mode

Split Banking mode, the default banking mode for the S6L control surface, lets you bank a combination of input and output chan-

nels to the S6L channel strips using pre-defined banks of channels. Split Banking mode banks input channels sequentially to the

faders below the Channel Knob Modules (CKMs), and banks output channels sequentially to the faders below the Master Live

Module (MLM). The Left Soft Keys menu shows the pre-defined channel banks, which you bank to the faders using the corre-

sponding Soft Keys. Multiple pages of channels banks are provided, which you can navigate using the Left Soft Keys display nav-

igation switches.

Navigating the Left Soft Keys Display in Split Banking Mode

Split Banking mode provides multiple pages of channel banks you can choose to bank to the faders. The Previous and Next Page

switches, and the Home switch let you navigate the available pages of channel banks.

1 – Previous Switch

2 – Next Switch

3 – Home Switch

To access to the previous or next page of available channel configurations:

 Press a lit Previous or Next switch until you locate the channels you wish to access.

The switches are lit when there is a previous or next page of channel configurations available.

To return to the first page of available channel configurations:

 Press the lit HOME switch.

Left Soft Keys display navigation switches

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

Banking Channels on the S6L Control Surface 86

Banking Inputs in Split Banking Mode

In Split Banking mode, input channels appear in the left-hand column of the Left Soft Keys display. The S6L-32D provides 24 in-

put channels per bank, S6L-24D/24C provide 16 input channels per bank, and S6L-16C provide 8.

To bank input channels in Split Banking mode:

1 Make sure the Layouts, VCAs, Inputs, or Outputs switches are unlit/not selected. If one is selected, press it so it is unlit.

2 In the left-hand column of the Left Soft Keys display, locate the input channels you want to bank to the faders.

• Or press the lit Next switch until you see the desired channel configuration in the display.

3 Press the corresponding Soft Key so it lights. The selected set of input channels are banked to the faders below the CKMs.

On S6L-24C, the MLM is at the far right above faders 17–24. Banking to input channels 17–32 on 24C places those channels

on faders 1–16.

Left Soft Keys display showing the first page of Split Banking mode channel configurations, and a lit Next switch

The selected Soft Key (left) and how the selected configuration of channels is banked to faders of an S6L-24D (right)

Selected configuration of channels banked to fader on S6L-24C

Nom

Inputs/Outputs

Global Cont

rols

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

Inputs/Outputs

Global Cont

rols

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

VENUE | S6L

Solo Solo

Home

Config

VCAs

Outputs

Layouts

Inputs

Flip

Recall

Trans

F1 F2 F3 F4 F5

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Encoder

Assign

Select

Clear

Tap

Temp o

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

8All

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

Mute Mute

Nom

Inputs/Outputs

Global Controls

0.0 dB

Left

0.0 dB

Kick

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

01/011

reset all inputs

0.0 dB

CH 1

Kick

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

Inputs 17-24 Inputs 25-32Auxes 1-8

Inputs 17-24 Inputs 25-32 Auxes 1-8

Banking Channels on the S6L Control Surface 87

Banking Outputs in Split Banking Mode

In Split Banking mode, outputs channels appear in the right-hand column of the Left Soft Keys display. All S6L control surface

models provide eight output channels per bank. The type and number of Aux and Group output channels available for banking de-

pend on the overall Mix Bus configuration as set in the Options > System page of the external screen.

To bank output channels in Split Banking mode:

1 Make sure the Layouts, VCAs, Inputs, or Outputs switches are not selected (unlit). If one is selected, press it so it is unlit.

2 In the right-hand column of the Left Soft Keys display, locate the output channels you want to bank to the faders.

• Or press the lit Next switch until you see the desired channel configuration in the display.

3 Press the corresponding Soft Key so it lights. The selected set of output channels are banked to the faders below the MLM.

On S6L-24C, banking to Auxes 9–16 places those channels on faders 17–24 and on S6L-16C to faders 9–16.

Left Soft Keys display showing the first page of Split Banking mode channel configurations, and a lit Next switch

The selected Soft Key (left) and how the selected channels are banked to faders of an S6L-24D (right)

Selected configuration of channels banked to fader on S6L-24C

Inputs/Outputs

Global Controls

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

Inputs/Outputs

Global Cont

rols

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

VENUE | S6L

Solo Solo

Home

Config

VCAs

Outputs

Layouts

Inputs

Flip

Recall

Trans

F1 F2 F3 F4 F5

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Encoder

Assign

Select

Clear

Tap

Tempo

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

8All

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

Mute Mute

Nom

Inputs/Outputs

Global Controls

0.0 dB

Left

0.0 dB

Kick

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

01/011

reset all inputs

0.0 dB

CH 1

Kick

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

Inputs 17-24 Inputs 25-32Auxes 9-16

Inputs 17-24 Inputs 25-32 Auxes 9-16

Banking Channels on the S6L Control Surface 88

Banking Only User Layouts, VCAs, Inputs, or Outputs

Fader Bank Mode

You can bank only certain types of channels to the faders using the Fader Bank Mode switches. Pressing a Fader Bank Mode switch

banks only the selected type of channels to all faders on the control surface. The Left Soft Keys display shows the available banks

of channels, which you bank using the corresponding Soft Keys. You can also use the Horizontal Banking switches to nudge the

currently banked channels.

To bank a User Layout in Fader Bank mode:

 Press Layouts so it lights.

If you have not created your own custom User Layouts, the default User Layout is banked to all faders

on the control surface.

To bank VCAs in Fader Bank mode:

1 Press the VCA Fader Bank mode switch so it lights.

VCAs 1–16 (S6L-16C), 1–24 (S6L-24D/24C), or 1–32 (S6L-32D) are banked to all the faders on the control surface.

2 To bank to other VCAs, such as VCAs 25–32 on the S6L-24D/24C, press the corresponding Soft Key.

• Or use the Horizontal Banking switches to nudge channels left or right (see

Banking Horizontally (Nudging Channels).

To bank input channels in Fader Bank mode:

1 Press the Inputs Fader Bank Mode switch so it lights.

Input channels 1–16 (S6L-16C), 1–24 (S6L-24D/24C), or 1–32 (S6L-32D) are banked to all the faders on the control surface.

2 In the Left Soft Keys display, locate the input channels you want to bank to the faders. Only input channels are shown in the dis-

play.

3 Press the corresponding Soft Key to bank the desired channels to all faders on the control surface.

• Or use the Horizontal Banking switches to nudge channels left or right.

To bank output channels in Fader Bank mode:

1 Press the Outputs Fader Bank Mode switch.

Auxes 1–16 (S6L-16C), 1–24 (S6L-24D/24C), or 1–32 (S6L-32D) are banked to all the faders on the control surface.

2 In the Left Soft Keys display, locate the output channels you want to bank to the faders. Auxes, Groups when applicable, Ma-

trixes, and Mains are shown in the display.

3 Press the corresponding Soft Key to bank the desired channels to all faders on the control surface.

• Or use the Horizontal Banking switches to nudge channels left or right.

To exit Fader Bank mode, do any of the following:

 Press a lit Fader Bank Mode switch. The last Split Banking mode channel configuration is restored to the faders.

 Press Home.

For instructions on creating your own User Layouts, see

User Layouts.

If you navigate out of Fader Bank mode, the next time you enable Fader Bank mode the previous banking configuration will be

recalled for the selected channel type.

VCAs

Outputs

Layouts

Inputs

8All

Fader Bank mode

switches

Banking Channels on the S6L Control Surface 89

Banking Horizontally (Nudging Channels)

The Horizontal Banking switches, available when Fader Bank mode is enabled, let you sequentially nudge channels to the left or

right one channel at a time, one fader bank (eight channels) at a time, or all fader banks (16 channels for S6L-16C, 24 channels for

S6L-24D/24C, or 32 channels for S6L-32D) at a time. When Fader Bank mode is enabled, depending on the type of channels cur-

rently banked to the faders, the

<< and/or >> switches light to indicate the direction in which you can nudge channels.

To nudge channels to the left or right by one channel:

 Press a lit << or >> switch. The Soft Keys LEDs for the active banks of channels flash to indicate that channels from both banks

are contributing to the current banking configuration.

To nudge channels to the left or right one fader bank (eight channels):

1 Press the 8 switch so it lights.

2 Press a lit << or >> switch. The Soft Keys LEDs for the active banks of channels flash to indicate that channels from both banks

are contributing to the current banking configuration.

To nudge channels to the left or right 24 (for S6L-24D/24C) or 32 (for S6L-32D) channels:

1 Press the All switch so it lights.

2 Press a lit << or >> switch. The Soft Keys LED for the next or previous bank of channels lights to indicate that those channels

are banked to the control surface’s faders.

Spill Mode for Outputs

Spill mode lets you rapidly access channels assigned to an Aux or Group output bus, Matrix, or VCA, without needing to navigate

through fader banks on the console. Spill mode can be activated from the fader strip for an Output master, or from Universe view.

To spill from the Output strip:

 Double tap the attention key of the desired Aux, Group, Matrix, or VCA.

To spill from the Universe view:

1 Navigate the MTS (or external screen on S6L-16C) Universe view to the Matrix, Auxes, Groups, or VCAs page.

2 Tap to enable the Spill icon.

3 Touch an Aux, Group, Matrix, or VCA tile. The members of that output are spilled to the faders.

4 When an output is spilled, attentioning any other Output spills that output.

To exit (unspill), do any of the following:

• Press the attention key of the spilled output.

• Select a fader Banking mode (such as Inputs, Outputs, Layouts, or VCAs).

• On the MLM, press

Spill so it is disabled (or press Cancel).

• Press Exit Spill on the external GUI banner.

Horizontal Banking switches

You can control how the spilled master is or isn’t banked when spilling using the

Position Safe When Spilling setting.

For Auxes, see also

Adjusting Aux Sends on Faders (Sends on Faders Mode).

8All

Banking Channels on the S6L Control Surface 90

User Layouts

You can create custom fader Layouts and s access those channels on the S6L channel strips using the Layouts switch and left

Soft Key bank on the MLM, providing the following features and capabilities:

• Store a single Layout in a snapshot (as available in previous versions of VENUE software).

• Save up to 23 additional Layouts within a single Show file, and assign Layouts to MLM Soft Keys, separate from snapshots.

• Name, recall and edit Layouts.

User Layouts can include any type of channel in any order of any format, up to the maximum number of fader strips on the control

surface (such as 16 on S6L-16C, 24 on S6L-24D/24C and 32 on S6L-32D). Each User Layout can be saved as a discrete User Lay-

out preset file. You can also store and recall one User Layout per snapshot.

Assigning Channels to a User Layout

You can assign channels to a User Layout using the S6L control surface or the external screen. You can assign individual channels

or multiple channels using Multi-Assign. Channels are arranged from left to right in the User Layout in the order in which they are

assigned. You can then reorder them using drag-and-drop (see Reordering Channels Using Drag and Drop).

Clearing a User Layout

When you first launch an S6L system, or load a Demo Show file included with the system, the default User Layout (Layout 1) is

loaded. You may want to clear the default User Layout before creating your own.

To clear the default User Layout

1 On the external screen, go to the Inputs or Outputs page and select the Layouts tab. Make sure the default User Layout (Layout

1) is either recalled or selected in the list.

2 Tap-and-hold (right-click) any fader strip and select User Layout from the pop-up menu, then choose Reset Layout.

• Or, select the Gear icon under the User Layout members list and choose Clear from the menu. If Layout 1 is selected, choose

Reset to Default.

Creating Layouts Using the S6L Control Surface

To create and assign Layouts using the MLM Soft Keys:

1 On the MLM, press the Layouts switch.

The last recalled Layout (or the default Layout if no custom

Layouts exist) banks to all faders on the control surface.

2 Press and hold a Soft Key for two or more seconds. In the

image at right, Soft Key 1 (Layout 1) is selected.

The Channel Color switch under fader strip 1 flashes red,

indicating it is ready for channel assignment.

To choose a different fader strip for assignment, press its

Channel Color switch so it flashes red.

3 To select a channel to assign to the currently targeted fader

strip, do either of the following:

• Tap a channel tile in the Universe of the MTS. The chan-

nel tile is bordered in orange.

• Press a channel

Attention switch.

The Channel Color switch on the next fader strip flashes red.

Layouts Gear icon menu

VCAs

Outputs

Layouts

Inputs

Flip

Encoder

Assign

8All

Layouts

Layout 1

L 1

Layout 2

L 2

Layout 3

L 3

Layout 4

L 4

Layout 5

L 5

Layout 6

L 6

Layout 7

L 7

Layout 8

L 8

Layout 9

L 9

Layout 10

Layout 11

Layout 12

1 2

Banking Channels on the S6L Control Surface 91

4 Repeat the previous steps to assign additional channels to fader strips.

5 When finished, do any of the following:

• To save the Layout and exit Layout Assign mode, tap OK on the MTS or external screen.

• To save the Layout but remain in Layouts Assign mode, press a different Layouts Soft Key.

• To exit without saving the new Layout, tap

Cancel on the MTS or external screen.

To navigate the Soft Keys to other Layouts:

 Press the Prev or Next Soft Keys below the Left Soft Keys bank.

Creating Layouts Using the Universe View

To assign channels to the User Layout using the Universe view:

1 On the MTS (or external screen on S6L-16C), touch Universe to show the Universe view.

2 Tap LAYOUT ASSIGN so it lights. The S6L system enters User Layout Assignment Mode. Channels assigned to the current or

most recently selected User Layout are indicated on the control surface as follows:

• Channel Tiles for the currently assigned channels are bordered in orange on the MTS.

•

Attention switches for currently assigned channels flash.

3 Tap a Channel Type button (Inputs, Auxes, Groups, Matrixes, VCAs, or Mains) to show those channels on the MTS, or Bank

the desired channels to the channel strips.

4 Tap a channel tile. The channel tile is bordered in orange.

– or –

• Press a channel Attention switch. The Attention switch flashes.

5 Repeat to assign any other channels, navigating to other channel banks as necessary.

6 To remove a channel from the User Layout, do either of the following:

• Tap a Channel Tile that is bordered in orange so the orange border disappears.

• Press a channel Attention switch so it is no longer flashing.

7 Tap Layout Assign (or press Multi-Assign on the MLM) so it is unlit to exit User Layout Assignment mode.

Your User Layout assignments are saved.

8 If desired, store the User Layout as a Preset. See

Working with User Layout Presets.

Enabled Layout Assign button (left) and Channel Tiles showing channels currently assigned to the User Layout

Banking Channels on the S6L Control Surface 92

Creating and Editing Layouts Using the External Screen

To assign a channel to a User Layout using the external screen:

1 Depending on the type of channel you want to assign, go to the Inputs or Outputs page.

2 Touch and hold (right-click) a fader strip on-screen, and select User Layout from the pop-up menu.

3 In the User Layout sub-menu, choose the channel strip to which you want to assign the channel.

4 Repeat for any other channels you want to assign.

5 If desired, store the User Layout as a Preset. See

Working with User Layout Presets.

To remove channels from a User Layout using the external screen.

1 Go to the Inputs or Outputs page.

2 Select the Layouts tab.

3 To remove a single channel from a User Layout:

• Tap-and-hold (right-click) any fader strip and select User Layout from the pop-up menu.

• Choose Clear Chanel <x>: <channel name>.

To reset a User Layout:

 Do either of the following:

• Tap-and-hold (right-click) any fader strip, select User Layout from the pop-up menu, and then choose Reset Layout.

• Select the Gear icon under the User Layout members list and choose Clear from the menu. If the default User Layout (Layout

1) is currently recalled or selected in the list, choose Reset to Default.

User Layout sub-menu

External screen Layouts tab (right)

Clear User Layout Assignments menu items

Banking Channels on the S6L Control Surface 93

Banking the User Layout

You can bank the User Layout from the control surface or the external screen.

To bank User Layouts to the channel strips on the control surface:

1 On the MLM, press the Layouts Fader Banking Mode switch.

The last recalled Layout (or the default Layout if no custom Layouts exist) banks to all faders on the control surface. The left

bank of MLM Soft Keys display all available User Layouts.

2 Press a Soft Key to bank the corresponding User Layout.

Channels assigned to the current User Layout are banked to the channel strips. User Layout strips that have no channel assignments

are blank. Any stereo channels are assigned to a single fader, as are the three Mains buses (see

Using Mains in a User Layout).

Working with User Layout Presets

You can store the current User Layout to disk as a preset file. One User Layout is stored to a preset file. You can then load a User

Layout saved as a preset file. After you load a preset file, you can then bank the newly loaded User Layout.

To store a User Layout as a preset file:

1 Assign channels to the User Layout as desired.

2 On the external screen, go to the Inputs or Outputs page and select the LAYOUTS tab.

3 Below the User Layout Members list, select the Presets Folder icon on-screen to open the User Layouts Presets Folder.

4 Choose User Presets folder from the Folder pop-up menu at the top of the Presets window.

To store the current User Layout as a new preset:

 Select New and enter a name for the preset file. The current User Layout is stored as a User Layout preset.

To preview an existing preset:

 Select the preset name in the Presets window so it is highlighted. The selected User Layout is visible on the external screen Lay-

outs tab, but is not yet loaded.

To load the currently selected preset:

 Press Enter on the keyboard or press OK in the Presets window title bar.

To immediately load a preset and close the Presets window:

 Double-tap the preset.

To cancel without loading the preset.

 Select Cancel.

User Layout Presets folder icon

Banking Channels on the S6L Control Surface 94

Examples of Creating and Editing Layouts

The following two examples show how to create a Layout that includes blank strips, and how to modify an existing Layout by re-

moving three assigned channels.

Example 1: Creating a Layout with Blank Strips

The following example shows how to create and save a custom Layout consisting of channels 1–8, 8 blank strips, and channels

9–16. This custom Layout will be assigned to MLM Soft Key 2.

To create and store Layouts:

1 Select Layouts Fader Banking Mode.

2 Press and hold Layout Soft Key 2 for two or more seconds.

The Layout already assigned to Soft Key 2 loads, the Channel Color switch on fader strip 1 flashes red, and Layout Soft Key 2

flashes. If no Layout is assigned to the selected Soft Key, an empty Layout is recalled (all faders darken and move to –inf),

3 Select Channel 1 on the MTS.

Fader strip 1 populates with Channel 1, and the Channel Color switch on fader 2 flashes red indicating it is ready for channel as-

signment.

4 Repeat Step 3 to assign channels 2–8 to fader strips 2–8.

5 Press the Channel Color switch on fader 17.

The Channel Color switch on fader 17 flashes red.

6 Repeat Step 3 to assign channels 9–16 to fader strips 17–24.

7 On the MLM, press OK.

The new Layout is stored to Soft Key 2, and the Soft Key 2 switch LED lights solid indicating it is the currently loaded Layout.

On the external screen, the Layouts tab shows the currently loaded Layout.

Modifying a Custom Layout

The following example shows how to modify an existing custom Layout assigned to Soft Key 6, to clear faders 9, 10, and 11.

To modify a stored custom Layout:

1 Select Layouts Fader Banking Mode.

2 Press and hold Layout Soft Key 6.

Faders populate with Layout 6. The Channel Color switch on fader strip 1 flashes red, and Layout Soft Key 6 flashes.

3 Press and hold the Channel Color switch on fader strip 9.

Fader strip 9 clears (it darkens and its fader resets to -inf), and its Channel Color switch flashes red.

4 Repeat Step 3 to clear fader strips 10 and 11.

5 On the MLM, press OK.

The modified Layout is stored to Soft Key 6 which lights solid.

Layouts view showing channels assigned to faders 1-8 and 17-24

Banking Channels on the S6L Control Surface 95

Layouts View

The Layouts tab is available at the bottom of the Inputs, Outputs, and Snapshots views. Enabling the Layouts tab displays the fol-

lowing controls for assigning, recalling, and managing Layouts.

1 – Fader Strips

These strips correspond to all available fader strips on the control surface (32 on S6L-32D control surfaces, 24 on S6L-24D, or 16

on S6L-16C).

2 – Members

This scrollable display lists all channels assigned to the currently loaded Layout, or those assigned to the Layout currently targeted

in the Layouts list.

3 – Layouts List

This scrollable display lists the default Layout and all 23 available Layouts. To recall a Layout, click to select it (it lights red, in-

dicating it is targeted), then click the

Recall button. Channels assigned to the Layout appear in the Members list.

To rename a Layout:

 Double-click its name in the Layouts List.

Similar to the Snapshots list, the Layouts list shows the currently loaded Layout in green. Selecting a different Layout in the list tar-

gets that Layout (it turns red) and its members appear in the Members list.

4 – Layout Assign and Recall

These switches enable Layout Assign mode and Recall the currently targeted Layout, respectively.

5 – Layouts Presets

This icon lets you create, preview, and load User Layout Presets.

Layouts tab

Layouts tab showing the current Layout (01 DRUMS) and a targeted Layout (07 VOCALS)

2 3

5 61 7

Banking Channels on the S6L Control Surface 96

6 – Layouts Options (Gear Menu)

This menu provides commands to manage Layouts, including Assign to Soft Key, Replace with Layout From, Auto Assign all

Soft Keys, Clear all Soft Keys, Clear, and Reset to Default.

7 – Layouts Tab

Selecting this tab displays Layouts view across the bottom of the external screen.

Layouts, Snapshots and Show Files

The following sections describe how Layouts are managed within Show files and snapshots.

Using Layouts in Snapshots

You can store and recall one User Layout per snapshot, providing up to 999 User Layouts per Show file. As with other snapshot

data types, the current User Layout and the associated parameters (mute, solo, etc.) are stored whenever you store a snapshot. How-

ever, because Layout 1 is associated with the current snapshot, updating that Layout is not automatically saved into the snapshot.

Be sure to store the associated snapshot after creating or editing the desired Layout.

Recalling a Snapshot with the

LAYT Data Type button scoped recalls the User Layout stored in the snapshot (see

Recalling Snap-

shots for more information).

The single Layout that is stored in a Show file created in an earlier version of VENUE software, and/or snapshot is always assigned

to MLM Soft Key 1. In addition:

• Any Layout currently stored in a Show file remains stored in the file as Layout 1.

• Any Layout currently stored in a snapshot remains stored in the snapshot as Layout 1.

• Storing a snapshot stores Layout 1.

• Recalling a snapshot with

LAYT scoped updates Layout 1, but does not force a Recall of Layout 1.

• While in any Fader Banking mode other than Layouts, when a snapshot is recalled with LAYT scoped the current Fader Bank-

ing mode is maintained. If you then enter Layouts Fader Banking Mode, faders will update to the Layout in the currently

loaded snapshot (Layout 1).

• Additional Layouts that are stored to Soft Keys are stored in the currently loaded Show file (not the Presets folder).

• Soft Key Assignments are stored in the Show file (not the Presets folder).

Using Mains in a User Layout

When you assign Mains L-R + C/Mono to a User Layout, a single fader for all three Mains buses is assigned to the Layout regard-

less of the Mains buses’ linked/unlinked state. When Mains are linked, adjusting the fader in the User Layout controls levels for

the linked Mains buses. See Using Mains in a User Layout for more information.

Commands in the Layouts Options (Gear menu)

Command Function

Assign to Soft Key

Assign the currently targeted Layout to any of the 24 avail-

able Layouts Soft Keys

Replace with Layout From

Replaces the currently targeted Layout with channel

assignments from the selected Layout

Auto Assign all Soft Keys

Assigns all Layouts 1–24 to corresponding Layouts Soft

Keys 1–24

Clear all Soft Keys Clears all Layout assignments from Soft Keys

Clear

Clears all channels assigned to the currently targeted Lay-

out

Reset to Default Resets Layout 1 to its default assignments

Banking Channels on the S6L Control Surface 97

Bank Safing Channels

Bank Safe lets you temporarily “lock” the location of key channels (such as a lead vocal or the Mains) on an S6L control surface

channel strip. This lets you maintain immediate access to these key channels while working with channels on a different layer.

When a channel is removed from Bank Safe, the channel that would normally appear in that fader location on the currently selected

bank automatically re-appears.

You can Bank Safe channels using the Channel Safe switches, the Channel Knob Module (CKM) in Channel Control mode, or the

Channel Menu. To Bank Safe channels using the Channel Safe switches, you must first enable Bank Safe mode.

Bank Safing Using the Channel Safe Switches/Button

The Channel Safe switch on the S6L control surface and the Channel Safe button on the external software screen toggle Bank Safe

for that channel when Bank Safe mode is enabled. Bank Safe Mode is enabled globally for input and output channels on the Options

> Interaction page of the external screen.

To enable Bank Safe for the Channel Safe switches:

1 On the external screen, go to the Options > Interaction page.

2 In the Channel Safe Switches Inputs and Outputs sections, select Bank Safes as de-

sired.

To Bank Safe channels using the Channel Safe switches:

1 Make sure you have enabled Bank Safe for the Channel Safe switches.

2 On the S6L control surface, do the following:

• Bank the desired channel to the faders.

• Press

Safe for the channel you want Bank Safe.

3 On the external screen, do the following:

• Go to the Inputs or Outputs page, and navigate to the desired channel using the provided tabs and buttons.

• Select the Channel Safe switch for the desired channel, located at the top of each fader strip.

Bank Safe status for the channel is indicated as follows:

• On the control surface channel strip, the

B LED lights red.

• In the Input section of the MTS and CTM Channel view for the channel, B lights red.

• On the external screen the Safe button flashes green and shows the letter B (A appears if the switch is acting as an Automation

Safe, and S appears if it is acting as a Solo Safe).

You can create an event that lets you cycle through the various Channel Safe switch

modes, suspend or disable Bank Safe (Disable Bank Switch). See

Creating Events.

S6L Channel Safe switch engaged

Indications that a channel is Bank Safed on the channel strip (left) the MTS/CTM Channel view (center) and on the external screen (right)

Channel Safe Switch options in the

Options > Interaction page

Menu Safe

Select

Solo

Mute

AS B

Banking Channels on the S6L Control Surface 98

Bank Safing Using the Channel Knob Module (CKM)

You can Bank Safe a channel using the CKM in Channel Control mode. You can Bank Safe a channel using the CKM when a dif-

ferent Safe mode (such as Automation and/or Solo Safe) is enabled for the Channel Safe switches.

To Bank Safe a channel using the CKM:

1 Bank the desired channel to the faders.

2 Press the Select switch for the channel you want to Bank Safe so it lights, then press the INPUT Channel Control Function

switch so it lights.

– or –

• Touch the channel’s Input touch zone on the associated Channel Touch Module (CTM). Input parameters are assigned to the as-

sociated CKM.

3 Locate the Bank Safe encoder, indicated by Bank Sf on the encoder display, and press the encoder.

The encoder In switch lights green, and the channel is Bank Safed.

CKM Channel Control Function Switches

Input touch zone on the CTM in Meters view (left) and in Channel view (right)

Bank Safe parameter on a CKM encoder

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

Bank Sf

Banking Channels on the S6L Control Surface 99

Bank Safing Using the Channel Menu

You can Bank Safe a channel using the Channel Menu when a different Safe mode (such as Automation and/or Solo Safe) is en-

abled for the Channel Safe switches.

To Bank Safe a channel using the Channel Menu:

1 Bank the desired channel to the faders.

2 Press the Menu switch for the channel you want to Bank Safe until Safe Mode appears in the channel display. The Safe modes

enabled by the Left and Right Channel Menu switches are shown below Safe Mode.

3 Press the Right Channel Menu Switch so it lights to Bank Safe the channel. The B LED lights red.

Special Cases Affecting Bank Safe

Reordering/Moving Channels

Bank Safed channels shuffle accordingly when any operation is performed that results in a re-ordering of input channels, including

the following:

• Inserting or Removing a Blank Strip

• Moving a strip

• Splitting a stereo strip(s)

• Opening a Show file that was saved on a VENUE system that used a different control surface layout than S6L.

Make Stereo

The Bank Safe status of the left channel is applied to the newly created stereo channel.

Split Stereo

The Bank Safe status of the stereo channel is applied to only to the left channel of the former pair.

Right Channel Menu switch engaged

Menu Safe

Mute

AS B

Ch 1:Stage1-01

Source

Auto/Bank

Safe Mode

Selecting and Attentioning Channels 100

Selecting and Attentioning Channels

On the S6L system, there are two ways to target channels for processing, assigning, and other channel functions: selecting and at-

tentioning channels. Selecting a channel locally selects that channel, and targets it to the associated Channel Knob Module (CKM).

Attentioning channels targets channels to the external VENUE software screen and the Master Touch Screen (MTS, if present).

Selecting Channels

Selecting a channel lets you adjust the channel’s parameters using the associated CKM. You can select channels using fader strip

Select switches, using the associated Channel Touch Module (CTM) if available, or by enabling the Select Follows Solo setting.

Selecting a Channel Using the Select Switch

To select a channel using the channel strip Select switch:

1 Bank to the desired channels.

2 Press Select on the corresponding channel strip so it lights. The background of the display also lights yellow to indicate that the

channel is selected.

Depending on the fader bank from which you selected the channel, you can adjust the selected channel’s parameters from an as-

sociated CKM, as follows:

• On all models of control surface, selecting a channel on a fader bank below a CKM enables Channel Control mode on that

CKM, at shown in the following figure on the left (S6L-24D shown).

• On S6L-32D/24D, selecting a channel on the fader bank below the Master Live Module (MLM) enables Channel Control

mode on the CKM to the right of the MLM, as shown in the following figure on the right (S6L-24D shown).

• On S6L-24C or S6L-16C, selecting any channel enables Channel Control mode on the one CKM (above faders 1–8)

An unselected channel (left) and a selected channel (right

Selecting a channel below a CKM (left) and below the MLM (right) on an S6L-24D

Select

Solo

Mute

AS B

CH 1

Ch 1

0.0 dB

Select

Solo

Mute

AS B

CH 1

Ch 1

0.0 dB

CH 1

Ch 1

Select

Solo

Mute

AS B

CH 1

Ch 1

0.0 dB

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

VENUE | S6L

Solo Solo

Home

Config

VCAs

Outputs

Layouts

Inputs

Flip

Recall

Trans

F1 F2 F3 F4 F5

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Encoder

Assign

Select

Clear

Tap

Tempo

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

8All

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

Mute Mute

Nom

Inputs/Outputs

Global Controls

0.0 dB

Left

0.0 dB

Kick

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

01/011

reset all inputs

0.0 dB

CH 1

Kick

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

VENUE | S6L

Solo Solo

Home

Config

VCAs

Outputs

Layouts

Inputs

Flip

Recall

Trans

F1 F2 F3 F4 F5

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Encoder

Assign

Select

Clear

Tap

Tempo

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

8All

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

Mute Mute

Nom

Inputs/Outputs

Global Controls

0.0 dB

Left

0.0 dB

Kick

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

01/011

reset all inputs

0.0 dB

CH 1

Kick

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

Selecting and Attentioning Channels 101

Selecting a Channel From Meters View

You can select channels from the Meters view or Channel view on the MTS and CTMs (if any).

To select a channel while in Meters view:

1 Bank the desired channel to any fader bank except the fader bank under the MLM.

2 In Meters view, do any of the following:

• Touch the Input, EQ, Dynamics, Plug-Ins, or Mix touch zone for the channel you want to select. That channel is selected, the

touch zone is bordered in orange, and the parameters associated with the active touch zone are spilled to the associated CKM

in Channel Control mode.

• Or touch the channel’s Meter touch zone.

The CTM (if any) switches to Channel view. The Channel Tile for the currently selected channel is bordered in orange, and the

parameters associated with the last active Channel Control function are spilled to the associated CKM in Channel Control mode.

To select a different channel in Channel view:

 Touch a different Channel Tile at the bottom of the display. That channel is now selected, and the encoders on the CKM now tar-

get the selected channel.

Select Follows Solo

The setting Select Follows Solo is provided in the Channel Selection section of the Options > Interaction page. When enabled,

engaging Solo on any channel that is currently banked to the faders also selects that channel. Solo can be engaged from the CFM,

MTS, or external screen, but the channel must already be banked to the control surface to engage local Select.

Selecting the EQ touch zone spills EQ parameters in Channel Control mode to the associated CKM in Channel Control mode.

When using an S6L-24C control surface, an additional option becomes available in Options > Interaction. For more infor-

mation, see

Meters Follow Selection (S6L-24C Only).

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

IN IN IN IN

IN IN

EQ In Analog

Hi Gain

Hi Freq

HM Freq

LM Freq

Lo Freq

Lo Q

1.00

200 Hz 1.00 kHz 5.00 kHz

10.00 kHz

0.0 dB

1.00 1.00 1.00

LM Q

HM Q

Hi Q

HM Gain

LM Gain

Lo Gain

LPF

HPF

80 Hz

20.00 kHz

IN IN

Selecting and Attentioning Channels 102

Attentioning Channels

You can attention a channel using the channel strip Attention switches, the Universe view, or from the fader strips on the external

screen. Attentioning a channel targets the channel to the Inputs or Outputs page of the external VENUE software screen, from

which you can adjust channel parameters independently of selected channels. The attentioned channel is also targeted to the MTS

Channel view (all systems except S6L-16C).

To attention a channel using the Attention switch:

1 Bank to the desired channels.

2 Press Attention on the corresponding channel strip so it lights. The channel display inverts (black text on a yellow background)

with black borders above and below, distinguishing it from indication of channel Select.

On the MTS/Universe view, the channel tile is bordered in blue. On the external screen the fader lights blue.

To attention a channel using the Universe view:

1 On the MTS or external screen (S6L-16C only) touch Universe to show the Universe view.

2 Touch the appropriate Channel Type button (Inputs, Auxes, Groups, Matrixes, VCAs, or Mains) to show the channel you want

to attention.

3 Touch the Attention Channel Tile Function button so it lights.

4 Touch the channel tile. The channel tile is bordered in blue to indicate the channel is attentioned.

By default, selecting a channel also attentions it. You can change this behavior to decouple Select and Attention by changing

the

Attention Follows Select preference in the Options > Interaction tab on the external screen.

An unselected and unattentioned channel (left) and an attentioned channel (right

Indications of attentioned channels in the MTS (left) and on the external screen (right)

An enabled Attention Channel Tile Function button

Select

Solo

Mute

AS B

CH 1

Ch 1

0.0 dB

Select

Solo

Mute

AS B

CH 1

Ch 1

0.0 dB

CH 1

Ch 1

Selecting and Attentioning Channels 103

To view the attentioned channel in the MTS Channel view:

 Touch Channel. The currently attentioned channel’s parameters are shown. When you attention another channel, its parameters

are shown in the Channel view.

Attention on Fader

Use the Attention on Fader soft key to quickly access parameters on the currently attentioned channel.

Pressing the soft key for Attention on Fader places the currently attentioned channel on the first fader of the CFM below the MLM,

and locally selects it. The Select switch on that strip flashes purple. The Attention on Fader will override any Bank Safed channel

on the strip (any Bank Safed channel will remain on that strip but is temporarily hidden by the Attention on Fader).

The CKM OLEDs display any previously displayed parameters (or Channel view if no parameters were previously displayed in At-

tention on Fader mode).

When the channel is unselected (by pressing its flashing

Select switch, selecting another channel in that bank of 8 faders or the

bank to its right (if present), pressing Select Clear, pressing the Attention on Fader soft key again, or closing Channel view on a

CTM), the Attention on Fader strip returns to its previous channel assignment. Changing fader banks will unselect faders on the

previous bank.

Flip mode and Sends on Faders mode remain available and do not cancel Attention Floating Fader mode.

For information on working with external screen controls, including attentioning channels, see

Adjusting Parameters on

the External Screen.

Attention Floating Fader

Global Controls

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

Attention on Fader

Selecting and Attentioning Channels 104

Selecting/Attentioning Multiple Channels (Multi-Select)

Multi-Select lets you select or attention multiple channels in order to apply an action to them in one step, such as adjusting multiple

channel’s High-Pass Filters, turning Aux sends on or off for multiple channels, or assigning multiple channels to a bus. You can

multi-select channels using

Select or Attention.

When you multi-select using Select, you can adjust parameters for all selected channels using the associated CKM. When you

multi-select using Attention, you can adjust parameters for all attentioned channels using the controls on the external screen.

Mutli-Selecting Using Select

Multi-selecting using Select is “local”–only channels on the same fader bank can be multi-selected using Select.

To multi-select channels using the Select switch:

1 Bank to the desired channels.

2 Do either of the following:

• Press and hold the Multi-Select switch at the top-left of the MLM, then press the Select switch on each channel you want

to include in the selection.

• Hold down the Select switch on the first channel, then press the Select switch on each channel you want to include in the

selection.

3 If you used Multi-Select, release the Multi-Select switch. The flashing Multi-Select switch flashes to indicate Multi–Select

mode is enabled.

4 Press a Channel Control Function switch to target those parameters to the associated CKM encoders.

5 Adjust a parameter on the CKM. The operation is applied to all selected channels.

6 To exit Multi-Select mode, do any of the following:

• Select an unselected channel on the same fader bank.

• Bank to a different set of channels.

Multi-Select switch

You can also use the Shift key on the keyboard to select multiple channels.

VENUE | S6L

Home Config

Recall

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

0.0

001/011

reset all inputs

0.0

CH 1

S1Cu2

001 3

P:S1C1

N:S1C3

S1Cu3

S1Cu2

Selecting and Attentioning Channels 105

Mutli-Selecting Using Attention

Multi-selecting using Attention is “global”–any channels in the system regardless of its current banking status can be multi-se-

lected using Attention.

To multi-select channels using Attention switches:

 Press and hold the Attention switch on the first channel you want to attention, then press Attention on each channel you want

to include.

To multi-select channels using Multi-Select:

1 Press and hold the Multi-Select switch at the top-left of the MLM.

2 Press the Attention switches for any channels you want to include in the selection.

3 If necessary, bank to other channels as desired, and press their Attention switches to add to the multi-selection.

4 When finished multi-selecting channels, release the Multi-Select switch. The flashing Multi-Select, OK and Cancel switches,

and the banner display at the lower left of the external screen flash to indicate Multi–Select mode is enabled.

5 To adjust parameters, do any of the following:

• If no channel is locally selected, adjust a parameter on the CKM in Channel Strip mode.

• Press the

Select switch to enable Channel Control mode on the associated CKM, then press a Channel Control function

switch to access the desired parameter(s).

Any adjustments are applied to all multi-selected channels.

6 To exit Multi-Select mode, do any of the following:

• Attention an un-attentioned channel.

• Press

Cancel.

• Press Multi-Select.

For information on working with external screen controls, including attentioning channels, see

Attentioning Channels

from the External Screen.

Flashing OK and Cancel switches

VENUE | S6L

Solo

Home

Config

Recall

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

Mute

0.0 dB

Kick

001/011

reset all inputs

0.0 dB

CH 1

Kick

S1Cu2

001 3

P:S1C1

N:S1C3

S1Cu3

S1Cu2

Adjusting Channel Parameters 106

Adjusting Channel Parameters

This chapter describes the following:

•

Assigning Channels to Outputs

• Adjusting Input Parameters on the Control Surface

• Adjusting EQ on the Control Surface

• Adjusting Dynamics on the Control Surface

• Adjusting Plug-Ins on the Control Surface

• Using the CHANNEL Function

• Flipping Parameters to Faders (Flip to Faders Mode)

• Encoder Assign Mode

Configuring and Patching Channels

Before adjusting channels, make sure you have configured your Mains and Mix Buses, patched hardware I/O to input and output

channels, and configured channels as desired (such as naming channels and making stereo channels). See the following for more

information:

 Configure Mains and Mix Buses (Aux and Groups) on the System > Options page. See

Configuring Mains and Mix Buses.

 Patch hardware I/O to input and output channels using the VENUE Patchbay. See Patching Input Sources to Input Channels

for more information.

 Name channels, combine two mono channels into one stereo channel (make stereo), reorder input channels, and insert blank

channel strips using the Inputs and Outputs pages of the external screen. See

Configuring Channels on the External Screen for

more information.

You can also adjust many channel parameters using the external VENUE software screen. See

Adjusting Parameters on

the External Screen for more information.

Adjusting Channel Parameters 107

Assigning Channels to Outputs

You can assign channels to the Mains, Auxes, Groups and VCAs using Multi-Assign. You can assign channels to the Mains and

Groups using the CKMs in Channel Control mode.

Assigning Channels Using Multi-Assign

Multi-Assign lets you assign multiple channels to a bus or VCA at once. Assigning channels using the MTS is the quickest and eas-

iest way to assign channels.

To assign channels using Multi-Assign:

1 On the MTS, touch the Channel Type button for the output you want to target for the multi-assign (Auxes, Groups, VCAs, or

Mains).

2 Touch Attention.

3 Touch the channel tile for the output channel you want to target for the multi-assign so the channel tile is bordered in blue.

4 Touch Multi-Assign on the CTM, or press the Multi-Assign switch on the control surface MLM so they are lit.

5 On the MTS, touch Inputs, and then touch the channel tiles for the channels you want to assign so the channel tiles are bordered

in orange.

– or –

• Bank the desired input channels to the faders and press their

Attention switches.

6 To confirm the assignment and exit Multi-Assign mode, press the OK switch

7 To cancel the assignment, press the Cancel switch, or press the Esc key on your keyboard.

For information on assigning input sources to Matrix Mixers, see

Assigning Input Sources to Matrix Mixers.

You can also multi-assign to

Mute Groups.

An enabled Attention Channel Tile Function button

Enabled Multi-Assign button on the MTS (left) and on the MLM (right)

VENUE | S6L

Home Config

Recall

Store

SNAPSHOTS

Talk

Back

Multi

Select

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Preview

SHIFT

ALT

CTRL

ESC

001/011

reset all inputs

S1Cu2

001 3

P:S1C1

N:S1C3

S1Cu3

S1Cu2

Adjusting Channel Parameters 108

Assigning Channels to the Mains

You can assign input channels to the Mains using the CKM encoders in Channel Control mode and on the external screen:

To assign input channels, Aux outputs, and Group outputs to Mains in Channel Control mode:

1 Select one or more channels you want to assign to the Mains buses.

2 On the associated CKM, press the INPUT Channel Control Function switch

– or –

• Touch the Input touch zone for the desired channel on the associated CTM in Meters or Channel view.

3 Do any of the following:

• To assign the channel(s) to the Mains Left and Right, press the encoder under the display showing L-R Assign.

• To assign the channel(s) to the Mains Center/Mono, press the encoder under the display showing C-M Assign.

The encoder In switch lights, the virtual encoder surround on the display fills, and the encoder turns red.

Input Channel Control Function switch (left), Input touch zone in Meters view (center), Input touch zone in Channel view (right)

Encoder and display showing a channel assigned to Mains L-R (left) and C/Mono (right)

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

L - R Asn

Sel

C-M Asn

Adjusting Channel Parameters 109

Assigning Input Channels to Groups

You can assign input channels to Groups using the CKM. The number of Group buses available, and which Mix Channel Control

function switch lets you access them, depends on the overall Mix Bus configuration. To change the Mix Bus configuration, see

Configuring Mix Buses.

To assign an input channel to a Group in Channel Control mode:

1 Select one or more channels.

2 On the associated CKM, press Mix Channel Control Function switch 2 or 3, depending on the overall Mix Bus configuration.

Group assigns are spilled to the encoders.

3 Press the orange encoder under the display showing the Group to which you want to assign the channel(s). The following ele-

ments indicate that the channel is assigned:

• The encoder

In switch lights.

• In the encoder display, On is shown and the encoder fills in.

• On-screen, the corresponding bus indicators are lit in the Bus Assign sections of the MTS and CTM Channel views, and on

the Inputs page of the external screen.

Assign VCAs and Mute Groups from Channel Control Encoders

You can assign input channels to Mute Groups and VCAs using the CKM encoders in Channel Control mode.

To assign input channels to Mute Groups and VCAs in Channel Control mode:

1 Select one or more channels you want to assign to a VCA or Mute Group.

2 On the associated CKM, press the INPUT Channel Control Function switch.

Or, touch the Input touch zone for the desired channel on the associated CTM in Meters or Channel view.

3 To assign the channel(s) to a Mute Group, rotate the encoder under the display showing MUTE Asn.

4 To assign the channel(s) to a VCA, rotate the encoder under the display showing VCA Asn.

5 When the desired VCA or Mute Group is displayed in the OLED, press the encoder or press the IN switch next to the encoder.

The SEL switch indicates Mute status of the currently selected VCA or MUTE Group. Pressing SEL toggles Mute of the selected

VCA or MUTE group.

Mix Channel Control Function Switches

Encoder and display showing a channel assigned to Group 1 (left) and on-screen for the selected/attentioned channel (right)

CKM OLED showing a channel assigned to the Mute Group “All Band”

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

Grp 1

VCA-Asn

VCA 1

Adjusting Channel Parameters 110

Adjusting Input Parameters

on the Control Surface

This section describes how to adjust top-of-channel parameters, which are the parameters you access when you press the INPUT

Channel Control function switch or touch the Input touch zone on a CTM. You can also adjust some input parameters on the CKM

encoders in Channel Strip mode.

The parameters provided by the Input function depend on the type of channel that is currently selected, as follows:

* These parameters are available only for stereo channels.

Adjusting Input Gain

Input Channels Only

S6L system analog mic/line XLR inputs have a gain range from +10 dB to +60 dB. All system digital inputs (including AES digital

inputs and inputs from Pro Tools) have a gain range from –20 dB to +18 dB. You can adjust gain in Channel Control and Channel

Strip modes. S6L systems also provide an automated Gain Guess feature for quick and easy gain setting.

To adjust channel input gain in Channel Control mode:

1 Bank to the desired input channels, then do one of the following:

• Select a channel, and then press the INPUT Channel Control Function switch on the associated CKM.

• Or, touch the Input touch zone for the desired channel on the associated CTM in Meters or Channel view.

You can also adjust input parameters on the external screen. See

Adjusting Parameters on the External Screen.

Selected Channel Type Available INPUT Parameters

Input Channels

Input Gain, 48 V, Pad, LPF, HPF, Pan, Balance*, Width*, Delay, Direct Out, Polarity, Right Offset*, Bank

Safe, Solo Safe, Automation Safe, Input Source Toggle, L-R and C/Mono Assign

Auxes and Groups

Polarity, Delay, Direct Out, Pan, Balance*, Width*, Bank Safe, Automation Safe, L-R and C/Mono Assign

Matrixes

Polarity, Delay, Direct Out, Pan, Width*, Bank Safe, Automation Safe

Mains

Polarity, Delay, Direct Out, Pan, Bank Safe, Automation Safe

If you repatch a hardware input to a different channel, Input gain, pad and phantom power move with the hardware input, re-

placing those settings on the destination channel. This occurs when repatching manually (in the Patchbay) or via a snapshot.

INPUT Channel Control Function switch

Input touch zone on the CTM in Meters view (left) and in Channel view (right)

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Adjusting Channel Parameters 111

The INPUT switch lights, the Input touch zone is bordered in orange, and Input parameters are spilled to the CKM.

2 Locate the encoder display showing Gain, and rotate the corresponding encoder.

The gain value changes in the encoder displays, in the Inputs zone of the MTS and CTM Universe view, and in the Input section

of the Inputs page for the channel on the external screen (if the selected channel is also attentioned).

To adjust channel input gain in Channel Strip mode:

1 Bank to the desired input channels.

2 Do either of the following to enable Channel Strip mode:

• Press a lit Select switch to de-select it and enable Channel Strip mode on the associated CKM.

• Press Select Clear to de-select all channels on the control surface and enable Channel Strip mode on all CKMs.

3 If necessary, navigate to the first Channel Strip mode parameter bank by pressing the lit Left Parameter Bank switch until Gain

appears in the top row encoder displays.

4 In the column for the channel you want to adjust, rotate the encoder under the display showing Gain The gain value in the dis-

play changes as you adjust the parameter.

Encoder display showing parameter and parameter value

Select Clear on the MLM

Lit Left Parameter Bank Switches (left) and the first page of Channel Strip parameters for input channels (right)

Sel

Gain

0.0 dB

PAD

Flip

Trans

F1 F2 F3 F4 F5

Encoder

Assign

Select

Clear

Tap

Tempo

Mute Group 6

VCA 9-16

9-16

Ch 81-96

81-96

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

CHANNEL

Sel

HPF

20 Hz

Gain

0.0 dB

LPF

20.00 kHz

<0>

Pan

PAD

Adjusting Channel Parameters 112

Using Gain Guess

The automated Gain Guess function can be used to set a nominal level for a channel based on its incoming signal. When you en-

abled Gain Guess, the system samples the incoming signal and automatically sets the channel Input Gain and pad for a 0 dB refer-

ence. Gain Guess follows the current Meter mode (Peak or RMS). You can access Gain Guess on the external screen.

To engage Gain Guess:

1 On the external screen, go to the Inputs page.

2 Attention a channel.

3 Touch and hold the Guess button. The button flashes to indicate level sampling.

4 Release the button. Input Gain will be set so the incoming signal reaches 0 dB peak (if Peak mode is selected) or 0 dB RMS (if

RMS mode is selected).

Setting Right Offset on Stereo Channels

On stereo input channels the Gain control affects both the left and right channels. The Right Offset feature lets you offset the gain

of the right channel relative to the left channel by –20 dB to +20 dB, within the overall gain limits. You can adjust Right Offset in

Channel Control and Channel Strip modes.

To adjust Right Offset in Channel Control mode:

1 Bank to the desired input channels, then do either of the following:

• Select a channel, and then press the INPUT Channel Control Function switch on the associated CKM.

• On the associated CTM, touch the Input touch zone for the desired channel.

2 Rotate the encoder under the display showing R. Offset.

To adjust Right Offset in Channel Strip mode:

1 Bank the desired input channels.

2 Enable Channel Strip mode on the CKMs by doing either of the following:

• Press a lit Select switch to enable Channel Strip mode on the associated CKM.

• Press Select Clear to de-select all channels on the control surface and enable Channel Strip mode on all CKMs.

3 If necessary, navigate to the first Channel Strip mode parameter bank by pressing any lit Left Parameter Bank switches until

Gain appears in the top row encoder displays.

4 In the column for the channel you want to adjust, press the encoder Sel switch under the display showing Gain. R. Offset is now

shown in the display, and the encoder targets the Right Offset parameter.

5 Rotate the encoder under the display showing R. Offset to adjust the Right Offset. The gain value in the display changes as you

adjust the parameter.

Gain Guess engaged

Adjusting Channel Parameters 113

20 dB Pad

Analog Input Channels Only

You can apply a 20 dB pad to any analog input assigned to an input channel in Channel Control and Channel Strip modes.

To toggle a channel pad in/out in Channel Control mode:

1 Bank to the desired input channels.

2 Select a channel, and then press the INPUT Channel Control Function switch on the associated CKM.

– or –

• On the associated CTM, touch the Input touch zone for the desired channel.

3 Press the encoder under the display showing Pad. When the pad is engaged, the encoder surround in the display fills in, PAD

lights in the display, and the encoder

In LED lights green.

To toggle a channel pad in/out in Channel Strip mode:

1 Bank the desired input channels.

2 Do either of the following to enable Channel Strip mode:

• Press a lit Select switch to enable Channel Strip mode on the associated CKM.

• Press Select Clear to de-select all channels on the control surface and enable Channel Strip mode on all CKMs.

3 If necessary, navigate to the first Channel Strip mode parameter bank by pressing the lit Left Parameter Bank switch until Gain

appears in the top row encoder displays.

4 In the column for the channel you want to adjust, press the encoder In switch under the display showing Gain. The In LED lights

green to indicate the Pad is in.

48 V (Phantom Power)

Input Channels Only

You can apply 48 V phantom power to any analog input assigned to an input channel in Channel Control mode.

To apply 48 V:

1 Bank to the desired input or output channels.

2 Select a channel, and then press the INPUT Channel Control Function switch on the associated CKM.

– or –

• On the associated CTM, touch the Input touch zone for the desired channel.

3 Press the encoder under the display showing 48 V. The encoder surround in the display fills in, 48V lights in the display, and the

encoder In LED lights green to indicate that 48 V is active on that channel.

Delay

You can apply up to 250 ms of delay to an input channel, or up to 500 ms of delay to an output channel (except VCAs) in Channel

Control mode.

To delay to a channel:

1 Bank to the desired input channels.

2 Select a channel

3 Press the INPUT Channel Control Function switch on the associated CKM.

4 To engage channel delay, press the encoder under the display showing Delay so IN is lit in the display.

5 Rotate the encoder to adjust the delay time.

Delay can be shown in milliseconds. feet, meters, or samples. See

Tap Tempo.

Adjusting Channel Parameters 114

Pan/Balance/Width

Pan adjusts channel pan (for mono channels) and stereo balance (for stereo channels). On stereo channels, width controls are also

provided. You can adjust pan controls for input channels, Aux outputs and Group outputs in Channel Control and Channel Strip

modes.

To adjust pan in Channel Control mode:

1 Bank to the desired input or output channels.

2 Select a channel, and then press the INPUT Channel Control Function switch on the associated CKM.

– or –

• On the associated CTM, touch the Input touch zone for the desired channel.

3 Rotate the encoder under the display showing Pan (mono channel) to adjust pan, or Balance (stereo channels) to adjust balance.

To adjust pan in Channel Strip mode:

1 Bank the desired input channels.

2 Do either of the following to enable Channel Strip mode:

• Press a lit Select switch to de-select it and enable Channel Strip mode on the associated CKM.

• Press Select Clear to de-select all channels on the control surface and enable Channel Strip mode on all CKMs.

3 If necessary, navigate to the first Channel Strip mode parameter bank by pressing the lit Left Parameter Bank switch until Pan

(or Balance for stereo channels) appears in the bottom row encoder displays.

4 In the column for the channel you want to adjust, rotate the encoder under the display showing Balance.

Stereo Width

Stereo Channels Only

Width adjusts the stereo image of stereo channels by controlling ganged pan positions of the left and right channels, in opposite di-

rections. Width can be adjusted from full L–R, to mono, to full inversed R-L. You can adjust width controls for stereo channels only

in Channel Control and Channel Strip modes.

To adjust width in Channel Control mode:

1 Bank to the desired input or output channels.

2 Select a channel, and then press the INPUT Channel Control Function switch on the associated CKM.

– or –

• On the associated CTM, touch the Input touch zone for the desired channel.

3 Rotate the encoder under the display showing Width.

To adjust width in Channel Strip mode:

1 Bank the desired input channels.

2 Do either of the following to enable Channel Strip mode:

• Press a lit Select switch to de-select it and enable Channel Strip mode on the associated CKM.

• Press Select Clear to de-select all channels on the control surface and enable Channel Strip mode on all CKMs.

3 If necessary, navigate to the first Channel Strip mode parameter bank by pressing the lit Left Parameter Bank switch until Bal-

ance appears in the bottom row encoder displays.

4 In the column for the channel you want to adjust, under the display showing Balance press the encoder Sel switch. Width is

shown in the display, and stereo width is now targeted to the encoder.

5 Rotate the encoder to adjust stereo width.

Adjusting Channel Parameters 115

High- and Low-Pass Filters (HPF and LPF)

Input Channels Only

The S6L system provides built-in 4th-order full-spectrum high- and low-pass filters on each input channel. You can adjust HPF and

LPF on the CKMs in Channel Control and Channel Strip mode using the Input or EQ functions.

To adjust HPF and LPF in Channel Control mode:

1 Bank to the desired input channels.

2 Select a channel, and then press the INPUT or the EQ Channel Control Function switch on the associated CKM.

– or –

• On the associated CTM, touch the Input or EQ touch zone for the desired channel.

3 To engage the filters on the channel, press the encoders under the displays showing HPF (for the high-pass filter) and LPF (for

the low-pass filter), as desired. Each filter’s corresponding encoder

In switch lights to indicate that the filter is engaged, and IN

lights in the corresponding display.

4 To adjust the frequency, rotate encoders as follows:

• Rotate the HPF encoder to the right to raise the filter’s corner frequency from its default starting frequency of 20 Hz.

• Rotate the LPF encoder to the left to lower the filter’s corner frequency from its default starting frequency of 20 kHz

Filtering is shown on-screen in the EQ section of the MTS and CTM Universe view, and in the EQ section of the Inputs page for

the channel on the external screen (if the selected channel is also attentioned).

To adjust HPF and LPF in Channel Strip mode:

1 Bank the desired input channels.

2 Do either of the following to enable Channel Strip mode:

• Press a lit Select switch to de-select it and enable Channel Strip mode on the associated CKM.

• Press Select Clear to de-select all channels on the control surface and enable Channel Strip mode on all CKMs.

3 If necessary, navigate to the first Channel Strip mode parameter bank by pressing the lit Left Parameter Bank switch until HPF

and LPF appear in the second and third row encoder displays.

4 Press the encoders under the displays showing HPF (for the high-pass filter) and LPF (for the low-pass filter), as desired, to en-

gage the filters on the channel. Each filter’s corresponding encoder

In switch lights to indicate that the filter is engaged.

5 Rotate each filter’s corresponding encoder to adjust the filter.

EQ section of the MTS Universe view showing high- and low-pass filtering on a channel

Adjusting Channel Parameters 116

Polarity Invert

(Phase Reverse)

You can invert the polarity of input channels, Aux outputs, Group outputs, and the Mains. With stereo channels, only the left chan-

nel is inverted. With Mains, regardless of the linked state of the Mains buses, polarity is inverted on both the Left and Right buses,

Polarity is inverted on the C/Mono bus independently of the Mains Left and Right.

To invert the polarity in Channel Control mode:

1 Bank to the desired input or output channels.

2 Select a channel, and then press the INPUT Channel Control Function switch on the associated CKM.

– or –

• On the associated CTM, touch the Input touch zone for the desired channel.

3 Press the encoder below the display showing Polarity. The encoder surround in the display fills in and the encoder In LED lights

green to indicate that the polarity is now inverted on that channel.

Direct Outs

You can turn on and adjust the level of Direct Outputs of input channels, Auxes, Groups, Matrixes, and Mains using the CKM in

Channel Control mode. Channels are patched to hardware outputs or Pro Tools outputs using the Directs tab of the Patchbay on the

external screen (See Patching Direct Outputs). You can also adjust Direct Outputs on the external screen Inputs and Output

pages. Up to 12 dB of gain can be added to the Direct Output signal.

To adjust Direct Outs in Channel Control mode:

1 Bank the desired input or output channels.

2 Select a channel, and then press the INPUT Channel Control Function switch on the associated CKM.

– or –

• On the associated CTM, touch the Input touch zone for the desired channel.

3 To turn on the channel’s Direct Out, press the encoder under the display showing Dir Out. The encoder In LED lights green.

4 Rotate the encoder to adjust the Direct Out level of the channel.

Pro Tools Input Source Toggle (Virtual Soundcheck Input)

(Input Channels Only)

You can toggle the input source for the currently selected input channel between a Pro Tools Virtual Soundcheck input and the

Stage input source for the channel, letting you toggle individual channels between Virtual Soundcheck and Stage mode. This pa-

rameter mirrors the function of the

Source Channel Menu option, available on the channel strip.

To toggle the input source for an input channel in Channel Control mode:

1 Bank the desired channel to the faders.

2 Select a channel, and then press the INPUT Channel Control Function switch on the associated CKM so it lights.

– or –

• Touch the channel’s Input touch zone on the associated Channel Touch Module (CTM).

3 Press the encoder under the display showing PT Input. The encoder In switch lights, and the encoder surround in the display fills

in to indicate the Pro Tools Virtual Soundcheck input is now the input source for the selected channel.

Direct Out level can also be assigned to faders by defining

Events with the Continuous Control on Faders action.

You can also toggle input using the Channel Menu and the external screen. See the S6L Live Recording Guide.pdf for more

information,

Adjusting Channel Parameters 117

Safe

You can toggle a selected input channel’s Bank, Automation, and Solo Safe, and a selected output channel’s Bank and Automation

Safe from the CKM in Channel Control mode. These Safe controls are independent of the global Channel Safe Switches settings

on the

Options > Interactions page of the external screen.

To toggle a channel Safe:

1 Bank to the desired input or output channels to the faders.

2 Select a channel, and then press the INPUT Channel Control Function switch on the associated CKM so it lights.

– or –

• Touch the channel’s Input touch zone on the associated Channel Touch Module (CTM).

3 Locate the encoder showing the Safe you want to toggle, then press it. The encoder In switch lights, the encoder surround in the

display fills in to indicate the Safe is enabled, and ON is lit in the display.

For example, to enable Bank Safe, press the encoder under the display showing

Bank Sf on the encoder display.

The encoder In switch lights green, and the channel is Bank Safed.

Bank Safe parameter on a CKM encoder

For more information on Bank Safe, see

Bank Safing Channels.

For more information on Solo Safe, see

Solo Safing Channels.

For more information on Automation Safe, see

Automation Safing Channels.

Sel

Bank Sf

Adjusting Channel Parameters 118

Adjusting EQ

on the Control Surface

Each input channel has a built-in 4-band EQ. Each output channel (except VCAs) has a built-in 7-band parametric EQ. You can

choose between two EQ types on a per-channel basis: a full-spectrum digital EQ or an analog-modeled EQ. You can adjust channel

EQ on the CKMs in Channel Control mode. You can also adjust channel EQ band gain in Channel Strip mode.

S6L systems also provide 32 built-in insertable graphic EQs (GEQ) for output channels. You can adjust Graphic EQs inserted on

output channels using the CKMs in Channel Control mode.

Adjusting Channel EQ on the Control Surface

To adjust built-in channel EQ in Channel Control mode:

1 Bank to the desired input or output channels.

2 Select a channel, and then press the EQ Channel Control Function switch on the associated CKM.

– or –

• Touch the EQ touch zone for the desired channel on the associated CTM in Meters or Channel view.

The

EQ Channel Control Function switch lights, the EQ touch zone is bordered in orange, and EQ parameters are spilled to the

associated CKM.

You can also adjust EQ using the external screen, as well as accomplish other tasks including toggling digital and analog EQ

modes, copy and paste EQ settings between channels, and save and recall EQ presets. See

Working with EQ and Dynam-

ics on the External Screen.

INPUT Channel Control Function switch (left) and the Input touch zone in the CTM Meters view (right)

EQ touch zones on the CTM in Meters view (left) and in Channel view (right)

Built-in 4-band EQ parameters on the CKM

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

IN IN IN IN

IN IN

EQ In Analog

Hi Gain

Hi Freq

HM Freq

LM Freq

Lo Freq

Lo Q

1.00

200 Hz 1.00 kHz 5.00 kHz

10.00 kHz

0.0 dB

1.00 1.00 1.00

LM Q

HM Q

Hi Q

HM Gain

LM Gain

Lo Gain

LPF

HPF

80 Hz

20.00 kHz

IN IN

Adjusting Channel Parameters 119

To toggle the processor in/out,

 Press the red encoder at the top left of the CKM, under the display showing EQ In.

The encoder In switch lights, and the encoder surround in the display fills in to indicate the EQ is engaged.

To toggle individual EQ bands in/out:

 Press the encoder In switch below the display showing EQ band gain (the encoders along the bottom row of the CKM). An EQ

band is in when the switch lights.

To adjust EQ bands:

1 To adjust EQ band gain, under the displays showing Lo Gain, LM Gain, and so on rotate the desired encoder.

2 To adjust EQ band frequency, under the displays showing Lo Freq, LM Freq, and so on rotate the desired encoder.

3 To adjust EQ band Q, under the displays showing Lo Freq, LM Freq, and so on rotate the desired encoder.

4 To toggle between Bell and Shelf filters for the Hi and Lo bands:

• Press the encoder In switch below the display showing Hi Q to toggle Shelf on the Hi EQ band.

• Press the encoder In below the display showing Lo Q (or Lo 1 Q for outputs) to toggle Shelf on the Lo 1 EQ band.

Shelf is active when the encoder In switch lights.

To adjust EQ band gain in Channel Strip mode:

1 Bank the desired input or output channels.

2 Do either of the following to enable Channel Strip mode:

• Press a lit Select switch to de-select it and enable Channel Strip mode on the associated CKM.

• Press Select Clear to de-select all channels on the control surface and enable Channel Strip mode on all CKMs.

3 Navigate to the EQ Channel Strip mode parameter bank by pressing a lit Parameter Bank switch, as available, until the encoders

appear green.

When a CKM is in Channel Strip mode and displaying EQ parameters, the encoder SEL switches assign EQ Frequency to the

corresponding encoder. Press SEL again to return the encoder to band Gain.

EQ band gain parameters for input channels appear on the second page of Channel Strip mode parameters, and pages two and

three for output channels, as follows:

For input channels, HPF and LPF parameters are also provided along with EQ parameters.

Channel Strip mode EQ parameters available per channel type

Input Channels Output Channels

CKM Encoder Page 2 CKM Encoder Page 2 Page 3

1 (top) EQ Hi Gain 1 (top) EQ Lo Mid 2 Gain n/a

2 EQ Hi Mid Gain 2 EQ Lo Mid 1 Gain EQ Hi Gain

3 EQ Lo Mid Gain 3 EQ Lo 2 Gain EQ Hi Mid 2 Gain

4 (bottom) EQ Lo Gain 4 (bottom) EQ Lo 1 Gain EQ Hi Mid 1 Gain

Adjusting Channel Parameters 120

Adjusting Graphic EQ on the Control Surface

(Output Channels Only)

GEQ parameters can be adjusted on CKMs or from the faders.

Adjusting GEQ on the CKM

To access GEQ parameters on the CKM, you must first insert a GEQ on the channel on the Outputs page of the external screen. See

Adjusting Graphic EQ on the External Screen.

To adjust GEQ in Channel Control mode:

1 Bank to the desired channels.

2 Select a channel, and then press the EQ Channel Control Function switch on the associated CKM.

– or –

• Touch the GEQ touch zone for the desired channel on the associated CTM in Meters or Channel view.

The EQ Channel Control Function switch lights, the EQ touch zone is bordered in orange, and channel EQ parameters are spilled

to the associated CKM.

3 Press any lit Right Parameter Bank Navigation switch.

GEQ parameters are spilled to all 4 rows of CKM encoders. Each individual band gain is assigned to an encoder.

4 To enable the GEQ, press the red encoder under the display showing In/Gain.

5 To adjust the overall output of the GEQ, rotate the red encoder.

6 To adjust individual band gain, rotate the corresponding encoders.

GEQ touch zones in Channel view

Lit Right Parameter Bank switches

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Adjusting Channel Parameters 121

Adjusting GEQ on Faders

You can access an inserted Graphic EQ on the faders using the MLM Right Soft Keys, and using events to assign a Function switch

that banks GEQ to the faders.

On S6L-32D systems, 31 bands of GEQ are available; on S6L-24D and S6L-24, the MLM Bank switches let you access other

bands.

To access GEQ on Faders using the MLM Soft Keys:

1 Make sure the Right Soft Keys on the MLM are set to their Home view.

2 Press the Soft Key for GEQ on Faders.

3 To exit GEQ on Faders mode, press the GEQ on Faders Soft Key again.

To create an event for GEQ on Faders:

1 On the external screen, go to the Media page to show the Events screen.

2 To create an empty, untitled new event, do the following:

• Click the New button in the Event Commands section.

• Double-click the new event in the Events List and enter a name such as GEQ on Faders.

3 With the new event selected (highlighted in the Events List), click the ADD pop-up menu in the Triggers list and select the trigger

type, such as Function Switch 9. The selected trigger type is added to the Trigger list for the currently selected event, with its

default properties.

4 Click the ADD pop-up menu in the Action list and select GEQ on Faders.

To access GEQ on Faders using an event:

1 Attention an Output Channel with a GEQ inserted on it.

2 Engage the trigger you selected to trigger GEQ on faders.

GEQ bands are spilled across all faders.

• On S6L-32D systems, all bands spill across the faders.

• On S6l-24D and S6L-24 systems, up to 24 bands spill across the faders. On the external screen, banked bands are lit white.

To bank to the next or previous set of GEQ bands, press the lit

< Bank > switches or use the Soft Keys to select the desired

bands.

3 To access GEQ on a different channel, Attention that channel using the MTS Attention key (the channel must already have a

GEQ inserted).

To cancel GEQ on Faders:

 Press the flashing Cancel switch.

For more information on using the features of the Events screen, see

Events.

Adjusting Channel Parameters 122

Adjusting Dynamics on the Control Surface

All input and output channels provide a built-in Compressor Limiter (Comp/Lim), and input channels provide an Expander/Gate

(Exp/Gate). Both built-in and most plug-in dynamics processors support sidechain processing.

For stereo channels, processor controls are linked and apply to both the left and right sides of the channel. For Mains L-R, processor

controls are linked regardless of the Mains linked/unlinked state. Dynamics control for the C/Mono bus is always discrete.

You can adjust built-in Dynamics in Channel Control and Channel Strip modes. You can also toggle built-in Dynamics processors

in/out using the channel strip

X and Y switches.

To adjust built-in Dynamics in Channel Control mode:

1 Bank the desired input or output channels.

2 Select a channel, and then press the DYNAMICS Channel Control Function switch on the associated CKM.

– or –

• Touch the Dynamics touch zone for the desired channel on the associated CTM in Meters or Channel view.

 The DYNAMICS Channel Control Function switch lights, the Dynamics touch zone is bordered in orange, and Dynamics pa-

rameters are spilled to the associated CKM.

You can also adjust Dynamics, including the sidechain, using the external screen. See

Working with EQ and Dynamics on the

External Screen.

Dynamics Channel Control Function switch

Dynamics touch zones on the CTM in Meters view (left) and in Channel view (right)

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Adjusting Channel Parameters 123

 For input channels, Exp/Gate parameters are assigned to the top two rows of encoders, and Comp/Lim parameters are assigned

to the bottom two rows.

 For output channels, Comp/Lim parameters are assigned to the bottom two rows.

3 To toggle Dynamics processors in/out, do any of the following:

• To toggle Exp/Gate, press the red encoder under the display showing E/G In. When engaged (in), the encoder In switch lights,

and the encoder surround in the display fills in.

• To toggle Comp/Lim, press the red encoder under the display showing

C/L In. When engaged (in), the encoder In switch

lights, and the encoder surround in the display fills in.

4 To adjust parameters, rotate the encoder under the display showing the parameter you want to adjust.

Gain reduction and gate activity is indicated on the channel strip gain reduction meters and in the Inputs zone on the associated

CTM. See

Dynamics Meter for more information.

To toggle Dynamics in/out using the X and Y switches:

 Press a channel strip X switch to toggle the Exp/Gate for that channel. The switch lights when the processor is engaged (in).

 Press a channel strip Y switch to toggle the Comp/Lim for that channel. The switch lights when the processor is engaged (in).

Sidechain

Dynamics processors typically use the detected amplitude of their input signal to trigger gain reduction. This split-off signal is

known as the sidechain. The built-in Comp/Lim and Exp/Gate feature sidechain circuits with external key and EQ filter capabili-

ties.

With sidechain EQ filters, you can make dynamics processing more or less sensitive to certain frequencies. For example, you might

configure the sidechain so that certain lower frequencies on a drum track trigger dynamics processing. You can engage and adjust

sidechain EQ filters on the CKM under the

DYNAMICS function.

With external key sidechain processing, dynamics processing is triggered using an external signal (such as another input) instead

of the input signal. This external source is known as the key input. Key input is selected in the Sidechain section of the Inputs or

Outputs page of the external screen (see

Selecting the External Key Sidechain Input).

Input channel Dynamics parameters on a CKM in Channel Control mode

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

E/G In

Ratio

100:1

1.00 ms 100 ms 250 ms

Attack

Hold

Release

Knee

C/L In

250 ms

Release

-20 dB

Range

0.0 dB

Gain

10 Hz

Key HPF

20.00 kHz

Key LPF

Key In KeyListn

10 Hz

Key HPF

20.00 kHz

Key LPF

Key In

KeyListn

Thrshld

-10.0 dB

Ratio

2:1 10.0 ms

AttackThrshld

0.0 dB

IN IN

Adjusting Channel Parameters 124

Engaging the Sidechain

The sidechain must be engaged to enable both external key and EQ filter sidechain processing for the selected channel. The Key

In control can be toggled in or out of circuit using the CKMs in Channel Control mode.

To toggle the sidechain:

1 Bank to the desired input or output channels.

2 Select a channel, and then press the DYNAMICS Channel Control Function switch on the associated CKM.

– or –

• Touch the Dynamics touch zone for the desired channel on the associated CTM in Meters or Channel view.

3 Press the encoder under the display showing Key In. When engaged (in), the encoder In switch lights, and the encoder surround

in the display fills in.

Using Sidechain EQ Filters

Both the Compressor/Limiter and the Expander/Gate sidechains provide two bands of EQ to band-limit the range of frequencies

that trigger dynamics processing.

To activate a sidechain EQ filter in Channel Control mode:

1 Bank to the desired input or output channels.

2 Select a channel, and then press the DYNAMICS Channel Control Function switch on the associated CKM.

– or –

• Touch the Dynamics touch zone for the desired channel on the associated CTM in Meters or Channel view.

3 Press the encoder under the display showing Key In. When engaged (in), the encoder In switch lights, and the encoder surround

in the display fills in.

4 Press the Channel Control encoder under the display showing Key HF and/or Key LF.

To adjust a side-chain EQ filter:

 Turn the Key HF and/or Key LF encoders to adjust the frequency (each filter ranges from 10 Hz to 20 kHz). In the encoder dis-

plays, the current frequency value is displayed on-screen.

Key Listen

The Key Listen button toggles the key onto the Monitor bus, replacing the signal there. This happens regardless of whether the key

is the channel signal or the external key, or whether it has been sidechain filtered. Key Listen always overrides all other soloed

channels. Any soloed channels are suppressed until Key Listen is cleared. If additional channels are soloed while Key Listen is on,

they will be added but suppressed. The Key Listen solo is also exclusive to itself; pressing Key Listen on a different processor or

channel turns off the previous Key Listen and the new Key Listen takes over.

To engage Key Listen:

 Press the encoder under the displays showing KeyListn. When engaged (in), the encoder In switch lights, and the encoder sur-

round in the display fills in.

To disengage Key Listen:

 Press the encoder again so the encoder In switch is unlit. The Solo bus reverts to its previous signal (soloed channels, or none).

You can also press Solo Clear once to turn off any currently engaged Key Listen button. Press Solo Clear a second time to

clear channel solos, if any.

For frequency-dependent gating or compression, make sure the Key Source is set to Self. See

Selecting the External Key

Sidechain Input.

Key Listen on a dynamics plug-in does not route the signal to the Monitor bus, but to the plug-in output. Use caution when using

the Key Listen with a plug-in dynamics processor.

Adjusting Channel Parameters 125

Adjusting Plug-Ins on the Control Surface

You can adjust inserted plug-ins and bus-fed plug-ins using the CKMs.

Adjusting Inserted Plug-Ins

You can adjust the parameters of up to four inserted plug-ins using the CKMs in Channel Control mode. To access inserted plug-in

parameters on the CKM, one or more plug-ins must be inserted on the channel (see Inserting Plug-Ins on Channels).

To adjust plug-ins in Channel Control mode:

1 Bank to the desired input or output channels.

2 Select a channel with one or more inserted, and the press the Plug-Ins Channel Control Function switch on the associated CKM.

– or –

• Touch the Plug-Ins touch zone for the desired channel on the associated CTM in Meters or Channel view.

The PLUG-INS Channel Control Function switch lights and the Plug-Ins touch zone is bordered in orange.

Red Plug-In Selectors are assigned to the leftmost encoders of each row of encoders on the associated CKM. Each Plug-In Se-

lector corresponds to an Inserts slot 1–4 of the targeted channel, from top to bottom. If no plug-in is inserted into a slot,

Plug-In is displayed.

3 To access a plug-ins parameters, press a red Plug-In Selector encoder under the display showing the name of the desired plug-in.

The parameters for that plug-in are spilled to the encoders.

On-screen, the targeted plug-in is bordered in red in the Inserts section of the channel, and on the external screen Plug-Ins page.

You can also adjust plug-ins on the Plug-Ins page of the external screen. See

Adjusting Plug-Ins on the External Screen.

Plug-Ins Channel Control Function switch

Inserts section on-screen with Inserted plug-ins (left) and corresponding Plug-In Selectors on a CKM in Channel Control mode (right)

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

PLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

Dn3Dsr

Smack

PlEQH2

SAPSA1

Adjusting Channel Parameters 126

To toggle an individual plug-in on/off

 Press the encoder In switch for the corresponding Plug-In Selector. The following control surface and on-screen elements indi-

cate when a plug-in is engaged (in):

• The encoder In switch lights.

• On the CTM in Meters view and in the Channel Tiles in Channel view, in the Inserts zone a blue dot appears next to the

plug-in.

• On the MTS and the CTM in Meters view, in the Inserts zone the

On indicator for the plug-in lights blue.

To access another plug-in inserted on the same channel:

 Press the corresponding red Plug-In selector encoder. The next time you access plug-ins on this channel, the parameters for the

last targeted plug-in are automatically spilled to the CKM encoders

Adjusting Bus-Fed Plug-Ins (Effect Returns)

You can adjust bus-fed plug-ins on the CKMs in Channel Control mode. You can adjust the bus-fed plug-in’s parameters, plus any

plug-ins inserted on the return channel. To access bus-fed plug-in parameters on the CKM, one or more plug-ins must be routed to

a channel (see Routing Plug-Ins as Bus Processors (Effect Send/Return).

To adjust a bus-fed plug-in:

1 Bank the channel to which the output of the bus-fed plug-in is routed to the faders

2 Select that channel, and then press the Plug-In Channel Control Function switch on the associated CKM.

– or –

• Touch the Plug-Ins touch zone for the desired channel on the associated CTM in Meters or Channel view.

The PLUG-INS Channel Control Function switch lights and the Plug-Ins touch zone is bordered in orange.

A red Plug-In Selector is assigned to the second encoder of the top row of encoders on the associated CKM, and plug-in param-

eters are spilled to the rest of the encoders.

3 Adjust parameters as desired.

To toggle the bus-fed plug-in on/off:

 Press the encoder In switch for the corresponding Plug-In Selector.

To access plug-ins inserted on the return channel:

 Press the corresponding red Plug-In selector encoder in the leftmost column. The parameters for that plug-in are spilled to the

encoders.

CKM with a bus-fed plug-in targeted to encoders

Sel

D-Verb Input

0.0 dB

Adjusting Channel Parameters 127

Using the CHANNEL Function

The CHANNEL Channel Control Function switch assigns a variety of channel parameters such as input, EQ, and Dynamics pa-

rameters to the CKM in Channel Control mode, providing a default set of utility parameters for the selected channel. You can cus-

tomize this group of controls by assigning parameters to these encoders, up to a total of 32.

CHANNEL parameter encoder assignments are global, and apply to all channels. If an assigned parameter is not applicable for the

selected channel type, that encoder is blank. Plug-In parameters are not available for custom parameter assignments. Custom as-

signments are saved with each Show file.

Accessing CHANNEL Parameters

To access the default CHANNEL parameters:

1 Bank to the desired input or output channels.

2 Select a channel, and then press the CHANNEL Channel Control Function switch on the associated CKM. The default param-

eters are spilled to the CKM’s encoders.

Assigning Custom CHANNEL Parameters

You can customize the parameters that are spilled to the 32 CKM encoders when you press the CHANNEL Channel Control Func-

tion switch. A custom assignment replaces any existing assignments on the selected encoder. To assign parameters, enable User

Assignment mode on one CKM, then select the parameters you want to assign to

CHANNEL using another CKM.

To enable User Assignment mode:

1 Select a channel on any fader bank.

2 Press and hold the CHANNEL Channel Control Function switch on the associated CKM.

The CHANNEL switch flashes to indicate that the CKM is in User Assignment mode.

The top-left encoder flashes red to indicate it is now the target for the custom assignment.

3 Press an encoder on the CKM that is in User Assignment mode to target that encoder for the custom assignment. That encoder

now flashes.

4 On a CKM other than the one in User Assignment mode, do the following:

• Access the Channel Control function containing the parameter(s) you want to assign to CHANNEL.

• Touch the encoder for the parameter you want to assign.

That parameter is assigned to the targeted CHANNEL encoder.

The next encoder on the CKM in User Assignment mode flashes to indicate it is now the target for a custom assignments.

5 Repeat step 4 to assign other parameters to each targeted encoder.

6 When finished, press the flashing OK switch to confirm assignments and exit User Assignment mode.

– or –

• Press the flashing Cancel switch to cancel, leaving all assignments unchanged and exit User Assignment mode.

CHANNEL Channel Control Function switch

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Adjusting Channel Parameters 128

Clearing CHANNEL Assignments

You can clear individual Channel Control assignments, or all assignments, on the Inputs and Outputs pages of the external screen.

To clear User assignments:

1 On the external screen, go to the Input or Outputs page.

2 Tap-and-hold (right-click) a parameter.

3 To clear a single parameter, choose Clear <parameter name> from the Channel Control sub-menu.

4 To clear all parameters, do the following:

• Choose Clear All Assignments.

•Select Clear to confirm, or select Cancel to cancel and leave the User assignment unchanged.

Flipping Parameters to Faders (Flip to Faders Mode)

Input Channels Only

You can flip a row of input channel parameters provided in Channel Strip mode to the faders, temporarily replacing channel level

control with control of the currently targeted parameter on the faders. You can enable Flip to Faders for input channels from any

CKM mode.

To flip parameters to faders:

1 Bank to the desired input channels to the faders

2 Press Flip so it lights (flashes).

The CKMs for all input channels enter Channel Strip mode.

The flashing row of encoders indicates the parameter that is currently flipped to faders.

3 Adjust the faders to change the parameter.

4 Touch an encoder in another row to flip that parameter to the faders.

– or –

• Press a lit Parameter Bank switch to navigate to another page of parameters, and then touch an encoder to flip its parameter

to the faders.

5 To exit Flip to Faders, press Flip again so it is unlit, or press Cancel.

When Flip to Faders is enabled again, the previously flipped row of encoders is flipped to the faders.

Flip switch enabled (left) and a channel display indicating that pan is flipped to faders (right)

Flip

Trans

F1 F2 F3 F4 F5

Encoder

Assign

Select

Clear

Tap

Tempo

Mute Group 5

Mute Group 6

VCA 1-8

VCA 9-16

9-16

Ch 65-80

Ch 81-96

81-96

Ch 1

Pan

FLIP

Ch 1

Pan

FLIP

Adjusting Channel Parameters 129

Encoder Assign Mode

Encoder Assign mode lets you specify the parameters to display in each row of CKM knobs, letting you create and recall a custom

variation of (vertical) Channel Strip mode. For example, when mixing monitors you can use Encoder Assign mode to quickly ac-

cess wedge, side-fill, and sub sends for multiple channels.

You can create and save one custom Encoder Assignment per Show file.

To enter and use Encoder Assign mode from the control surface:

1 Press and hold Encoder Assign on the MLM for two or more seconds.

The Encoder Assign switch flashes white. On the far left CKM (or on

the only CKM on S6L-16C) the top row of encoders flash red, indicating

they are the target for encoder assignment.

• If no custom Encoder Assignment exists the displays on that CKM

will be unlit; if a previous Encoder Assignment exists, its assignments

are displayed.

• If any channel is on the left-most CFM of an S6L-32D or S6L-24D

currently selected, it is automatically unselected; on S6L-24C, any/all

selected channels are unselected.

2 On the other CKM(s), or on-screen, touch the knob for any input, EQ, dynamics, or bus continuous control. (Plug-in parameters

cannot be assigned.)

The selected parameter occupies the top row of the far left CKM, and the next row of knobs below it flashes red.

3 Repeat to assign other parameters to the remaining rows.

You cannot double-assign the same parameter to multiple rows (attempting to do so will blank out the currently targeted row and

advance to the next row).

4 When finished, press Encoder Assign again (or press OK on the MLM, or tap select Done in the Encoder Assignment alert

on-screen). The

Encoder Assign switch stops flashing.

5 To recall your custom Encoder Assignment and display it across all CKMs that are in vertical (Channel Strip), press Encoder

Assign (it lights white).

To edit a custom Encoder Assignment:

1 Press and hold Encoder Assign for two or more seconds until it flashes white.

2 On the left-most CKM, tap to select the row of knobs you want to edit (knobs in that row flash red).

3 Touch the desired parameter on the other CKM(s) or on-screen.

4 Press Encoder Assign again.

Encoder Assign mode enabled, with Input, Dyn, EQ, and Aux parameters assigned

VENUE | S6L

Solo Solo

Home

Config

VCAs

Outputs

Layouts

Inputs

Flip

Recall

Trans

F1 F2 F3 F4 F5

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Encoder

Assign

Select

Clear

Tap

Tempo

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

8All

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

Mute Mute

Nom

Inputs/Outputs

Global Controls

0.0 dB

Left

0.0 dB

Kick

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

001/011

reset all inputs

0.0 dB

CH 1

Kick

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

S1Cu2

001 3

P:S1C1

N:S1C3

S1Cu3

S1Cu2

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

Gain

HPF

Gain

HPF

Gain

HPF

Gain

HPF

Gain

HPF

Gain

HPF

Gain

HPF

Gain

HPF

Gain

0.0 dB

Gain

0.0 dB

Gain

0.0 dB

Gain

0.0 dB

Gain

0.0 dB

Gain

0.0 dB

Gain

0.0 dB

Gain

0.0 dB

Thrshld

0.0 dB

Thrshld

0.0 dB

Thrshld

0.0 dB

Thrshld

0.0 dB

Thrshld

0.0 dB

Thrshld

0.0 dB

Thrshld

0.0 dB

Thrshld

0.0 dB

Lo Gain

0.0 dB

Lo Gain

0.0 dB

Lo Gain

0.0 dB

Lo Gain

0.0 dB

Lo Gain

0.0 dB

Lo Gain

0.0 dB

Lo Gain

0.0 dB

Lo Gain

Aux 1 Aux 1 Aux 1

-10.0 dB -20.0 dB -10.0 dB

-20.0 dB

Aux 1

-INF

Aux 1

-INF

Aux 1

-INF

Aux 1

-INF

Aux 1

Pre

Pre Pre

Pre

ON ON ONON

Flip

Encoder

Assign

Select

Clear

Tap

Tempo

Working with Mains and VCAs 130

Working with Mains and VCAs

Working with Mains

You can adjust Mains on the S6L control surface using the Flex Channels and the channel strips, and on the external screen. You

can solo, mute, and attention Mains, as well as target Mains for a Multi-Assignment using the MTS.

By default, level and mute for all three Mains buses are linked. You can unlink any Mains channel to independently control level

and mute. See

Linking/Unlinking Mains. Channel processing (such as EQ and dynamics) for Mains L-R are always linked.

C/Mono is always processed independently of Mains L-R.

Adjusting Mains Using the Flex Channels

By default, Mains L-R are assigned to Flex Channel 2. You also have the option of assigning C/Mono to a Flex Channel (see Con-

figuring Flex Channels). When Mains L-R are linked, a single Flex Channel controls both Mains Left and Right. When Mains

L-R are unlinked, a single Flex Channel controls the attentioned channel.

To adjust linked Mains L-R on a Flex Channel:

 To adjust Mains L-R output level, adjust the Flex Channel 2 fader.

 To mute Mains L-R, press the Flex Channel 2 Mute switch so it lights.

 To toggle the Mains L-R built-in Comp/Lim in/out, press the Flex Channel Y switch. Lit is in.

To adjust an unlinked Mains Left or Right on a Flex Channel:

1 Unlink the Mains Left and Right (see See

Linking/Unlinking Mains).

2 Press the Attention switch on the Mains L-R Flex Channel until the Flex Channel display shows “L” or “R.”

3 To adjust the level of the attentioned Mains, adjust the Flex Channel fader.

4 To mute the attentioned Mains, press the Flex Channel’s Mute switch.

See

Assigning Channels to the Mains for instructions on assigning channels to VCAs.

Flex Channel display showing Mains L targeted to the Flex Channel

0.0 dB

Mains

Working with Mains and VCAs 131

Adjusting Mains from the Channel Strips

You can adjust Mains using the channel strips by banking Mains to faders in Split Banking mode or Outputs Fader Bank mode.

To bank Mains in Split Banking Mode:

1 De-select a Fader Bank mode switch if one is enabled to enter Split Banking mode.

2 In the Left Soft Keys display, press the lit Next switch until you see Mains in the Soft Keys display

3 Press the Mains Soft Key so it lights.

Mains Left, Right and C/Mono are banked to the three leftmost faders on the center fader bank (under the MLM). You can access

Mains output processing controls as for other banked channels (as described in

Adjusting Channel Parameters).

To bank Mains Fader Bank mode:

1 Press the Outputs Fader Bank mode switch.

2 In the Left Soft Keys display, Press the Mains Soft Key so it lights.

Mains Left, Right, and C/Mono are banked to the three leftmost faders on the control surface.

Lit Next switch

Mains Soft Key

Mains banked to channel strips

VCA 1-8

1-8

VCA 9-16

9-16

Ch 65-80

65-80

Ch 81-96

81-96

Mains

Mns

Select

Solo

Menu Safe

Mute

AS B

Right

0.0 dB

Select

Solo

Menu Safe

Mute

AS B

Left

0.0 dB

Select

Solo

Menu Safe

Mute

AS B

Center

0.0 dB

Working with Mains and VCAs 132

Using Mains in a User Layout

When you assign Mains L-R + C/Mono to a User Layout, a single fader for each of the three Mains outputs is assigned to the Layout

regardless of the Mains’ linked/unlinked state. When Mains are linked, adjusting the fader in the User Layout controls levels for

the linked Mains buses. You can target each individual Mains outputs on the control surface using the Attention switch, or on the

external screen using the Mains Focus button.

To target an individual Mains output in a User Layout on the control surface:

1 Assign the Mains to a User Layout (see

Assigning Channels to a User Layout).

2 Press the Layouts Fader Bank Mode switch. Mains L-R + C/Mono are assigned to a single fader.

3 To attention one of the Mains, press the channel strip Attention switch until the channel display shows the desired Mains output.

To target an individual Mains output in the User Layout on the external screen:

1 Select the Inputs or Outputs page, fader strip, select the Mains Focus button above the Mute button to cycle through each Mains

channel.

To attention an individual Mains output on the external screen:

1 Assign the Mains to a User Layout and bank the User Layout

2 On the User Layout Mains fader strip, select the Mains Focus button to cycle through each Mains channel. The currently targeted

Mains bus is indicated in the button (L, R, C/M).

A channel display showing Mains L targeted to the fader

Mains Focus button

0.0 dB

Mains

Working with Mains and VCAs 133

Linking/Unlinking Mains

By default, all three Main buses are linked in terms of level control and mute status. You can unlink any of the three Main buses

for discrete control of level and mute.

To unlink the Mains:

 In the Outputs page, select the on-screen channel Link boxes for the Left, Right, and/or C/Mono fader strips so they are unlit.

Channel processing for the Mains Left-Right, such as built-in EQ, dynamics, and plug-ins, are always linked, regardless of

its linked/unlinked status.

Fader strip link boxes

Working with Mains and VCAs 134

Working with VCAs

VCA controls emulate the operation of traditional Voltage Controlled Amplifiers (VCAs). Up to 32 VCAs are available. Any sys-

tem channels can be assigned to VCAs.

VCAs remotely control the fader gain of each channel assigned to the VCA fader, but do not change the position of the faders on

those channels. The accumulated gain of a channel assigned to one or more VCAs is limited to +12 dB.

VCAs can also be used to trim Aux send levels. See

VCAs Trim Aux Sends in Sends on Faders Mode.

Banking VCAs

You can bank VCAs to control surface faders in Split Banking mode and VCAs Fader Bank mode.

To bank VCAs in Split Banking Mode:

1 De-select a Fader Bank mode switch if one is enabled to enter Split Banking mode.

2 In the Left Soft Keys display, if necessary press the lit Next switch until you the VCAs you want to bank in the Soft Keys display

3 Press a VCAs Soft Key so it lights. The selected VCAs are banked to the faders on the center fader bank (under the MLM).

4 Do any of the following to adjust a VCA’s parameter:

• Adjust the fader to adjust VCA level.

• Press the channel strip Mute switch to implicitly mute member channels.

• Press a channel strip Solo switch to solo the VCA.

VCAs control level of the assigned channels only. They do not act as a summing output bus.

See

Assigning Channels Using Multi-Assign and Assign VCAs and Mute Groups from Channel Control Encoders

for instructions on assigning channels to VCAs.

Spill Mode for Outputs provides another way to bank channels assigned to VCAs.

Lit Next switch

VCA 9-16 Soft Key

For more information see

Explicit and Implicit Channel Mute with Mute Groups and VCAs.

VCA 1-8

1-8

VCA 9-16

9-16

Ch 65-80

65-80

Ch 81-96

81-96

VCA 1-8

1-8

VCA 9-16

9-16

Working with Mains and VCAs 135

To bank VCAs in Fader Bank mode:

1 Press the VCA Fader Bank mode switch so it lights.

VCAs 1–24 (for the S6L-24/24D) or VCAs 1–32 (for the S6L-32D) are banked to all the faders on the control surface.

2 To bank VCAs 25–32 on the S6L-24/24D, press the corresponding Soft Key.

– or –

• Use the Horizontal Banking switches to nudge channels left or right, as desired (see

Banking Horizontally (Nudging Chan-

nels).

VCA Members on MTS/CTM Meters View

VCA members are shown in Meters view for VCAs.

If the VCA has 22 or more member channels you can scroll the list by swiping up and down.

Tapping a Mix tile (below each VCA/list) targets those members to the CKM. The currently targeted Mix tile is outlined in orange.

VCAs in Meters view

Members

Mix tiles

Working with Mains and VCAs 136

Channel Strips Show VCA Contribution

The effective gain of any channel is equal to the combination of its individual channel fader, plus any (all) VCA level changes that

affect that channel.

Input and output channels display the net effect of VCA level (effective gain) on-screen. This lets you keep track of what all cur-

rently assigned VCAs are doing to channels and buses at all times.

On-Screen VCA Indication

VENUE displays effective gain as a second, red “ghost” fader caps below the faders of channels that are currently assigned to one

or more VCAs.

The opacity of the ghost caps vary with the actual VCA levels:

• Lighter caps indicate smaller amounts of VCA contribution.

• Brighter caps indicate larger amounts of VCA contribution.

Turning Channel VCA Indication On and Off

By default, channel VCA indication is on. You can turn off VCA indication on the Options > Interaction page of the external

screen.

To turn channel VCA indication off or on:

1 On the external screen, go to Options > Interaction.

2 In the Fader Configuration section, select or de-select Show VCA Contribution as desired.

VCA contribution shown in the on-screen fader displays

Effective

Channel levels

gain (VCAs)

Working with Aux Sends 137

Working with Aux Sends

This chapter covers how to work with Aux Sends and covers the following:

•

Adjusting Aux Sends in Channel Control Mode

• Adjusting Aux Sends in Channel Strip Mode

• Adjusting Aux Sends on Faders (Sends on Faders Mode)

• VCAs Trim Aux Sends in Sends on Faders Mode

• Adjusting Aux Sends on the External Screen

• Classifying Auxes for Snapshots

Adjusting Aux Sends in Channel Control Mode

When accessing Aux Sends in Channel Control mode, the number of available Aux Sends, and the Mix switch or touch zone used

to spill the sends to the CKM encoders, depends on the overall Mix Bus configuration. See Configuring Mix Buses.

In Channel Control mode, Aux Sends are spilled to CKM encoders sequentially from left to right, and top to bottom. After spilling

Aux Sends, you can toggle the sends on/off, adjust send levels, and toggle sends pre-/post-fader using the encoders. You can set

the Aux send pre-fader pickoff point on a per-channel basis (see

Selecting Aux Pre-Fader Pickoff Points).

You can also access Aux Sends 1–4 in Channel Strip mode (see

Adjusting Aux Sends in Channel Strip Mode).

To spill Aux Sends using the MIX Channel Control Function switches:

1 Bank the desired channels.

2 Select one or more channels.

3 Press a MIX switch to spill the following Aux Sends to the encoders on the associated CKM, as available:

•The left MIX switch spills Aux Sends 1–32.

•The center MIX switch spills Aux Sends 33–64.

• The right MIX switch spills Aux Sends 65-96.

MIX Channel Control Function switches (left) and the Aux Sends 1–32 spilled to the encoders (shown at right)

MIXMIXMIX

Sel

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

Aux 1 Aux 3 Aux 4

-10.0 dB -20.0 dB -10.0 dB

-20.0 dB

Aux 5

-INF

Aux 6

-INF

Aux 7

-INF

Aux 8

-INF

Aux 13

-INF

Aux 14

-INF

Aux 15

-INF

Aux 16

-INF

Aux 9

-INF

Aux 10

-INF

Aux 11

-INF

Aux12

-INF

Aux 17

-INF

Aux 18

-INF

Aux 19

-INF

Aux 20

-INF

Aux 25

-INF

Aux 26

-INF

Aux 27

-INF

Aux 28

-INF

Aux 21

-INF

Aux 22

-INF

Aux 23

-INF

Aux 24

-INF

Aux 29

-INF

Aux 30

-INF

Aux 31

-INF

Aux 32

-INF

Aux 2

Pre

ONONON

ONONON ON

ON ON ONON

Working with Aux Sends 138

To spill Aux Sends using the CTM in Meters view:

 Touch the Aux Sends touch zone on the associated CTM. The Aux Sends that are spilled are indicated by the channel number

range at the top of the touch zone.

To spill Aux Sends using the CTM in Channel view:

1 If necessary, in Meters view touch the Meters for the channel you want to access in Channel view.

2 Touch one of the three Aux Sends touch zones in the Aux Sends section on the associated CTM. The active zone is bordered in

red. Each zone spills the following Aux Sends to the CKM encoders, as available:

• Zone 1 (topmost zone) spills Aux Sends 1–32.

• Zone 2 (middle zone) spills Aux Sends 33–64.

• Zone 3 (bottom zone) spills Aux Sends 65-96.

To toggle an Aux Send on/off:

 Press the encoder under the display showing the Aux Send you want to adjust, such as Aux 1.

On is shown in the encoder display when the send is on. Off is shown when the send is off. On-screen, the thermometer-style

level indicator for each Aux Send lights when Aux Send is on, and is dimmed when off.

CTM Meters view (left) and a closeup of the Aux Send touch zone

Aux Sends touch zones in CTM Channel view (80 Aux configuration shown)

Working with Aux Sends 139

To adjust Aux Send level:

 Rotate the encoder under the display showing the desired Aux Send.

Send level is shown in the corresponding encoder display. On-screen, thermometer-style level indicators in the Aux Sends zones

show Aux Send level.

To toggle an Aux Send pre-/post-fader:

 Press the encoder In switch under the display showing the desired Aux Send. The following elements indicate that an Aux Send

is pre-fader:

• The corresponding encoder

In switch lights.

• Pre or Post is shown in the corresponding encoder display.

• On-screen, a border appears around the channel numbers.

Selecting Aux Pre-Fader Pickoff Points

Each Aux Send can be set as pre- or post-fader. You can specify the pre-fader pickoff point for Aux buses.

Pre-Fader pickoff points are set for each bus independently. If any buses are stereo, the pickoff point is set for the stereo pair. The

following pre-fader pickoff points for Aux buses are available:

Pre-EQ

Post-HPF/LPF and pre-EQ, Dynamics and Channel Inserts, pre-Mute, and pre-Fader. The Aux send is not affected by the

channel mute.

Pre-EQ Post-Mute

Post-HPF/LPF and pre-EQ, Dynamics and Channel Inserts, post-Mute, and pre-Fader. The Aux send is af-

fected by the channel mute.

Pre-Mute

Post-HPF/LPF, post-EQ, Dynamics, and Channel Inserts, pre-Mute, and pre-Fader. The Aux send is not affected by the

channel mute.

Pre-Fader

Post-HPF/LPF, post-EQ, Dynamics, and Channel Inserts, post-Mute, and pre-Fader. The Aux send is affected by the

channel mute.

To set the pre pickoff point for an Aux send:

1 On the external screen, go to Options > Buses.

2 Select an Aux Select Button button to access those Auxes in the

grid.

3 In the Auxiliaries section, select the Pre-EQ, Pre-EQ Post Mute,

Pre-Mute, or Pre-Fader button so it lights.

CKM encoders showing the various Aux Send states (left) and indication of a pre-fader Aux on the CTM (right)

Sel

Aux 4

-20.0 dB

Aux 5

-INF

Aux 6

-INF

Aux 7

-INF

Aux 8

-INF

Pre Pre Pre Pre Pre

ONONON

Aux bus pickoff points

Working with Aux Sends 140

Adjusting Stereo Sends in Channel Control Mode

You can combine any two Aux outputs into a single stereo Aux output using Make Stereo (see Make Selected Mono Strips Ste-

reo/Make Selected Stereo Strip Mono). With stereo Auxes, you can pan send signals across the stereo pair, or panning can fol-

low channel pan (enabled per-Aux on the Options > Buses page of the external software).

On CKM encoders, stereo Aux Send controls are combined into one encoder, which controls both level and pan.

To adjust a stereo Aux Send in Channel Control mode:

1 Bank to and select the desired channel.

2 Press the appropriate MIX Channel Control Function switch or CTM touch zone to access the

desired stereo Aux Send.

The stereo send is available on a single encoder.

3 To adjust stereo Aux Send level, rotate the encoder.

4 To adjust send pan, do the following:

• Press the corresponding encoder Sel switch so it lights. Send pan is now targeted to the

corresponding encoder, the color in the corresponding encoder display inverts, and P

<Aux number/name> and pan value appears in the display.

• Rotate the encoder to adjust send pan.

Adjusting Aux Sends in Channel Strip Mode

You can control Aux Sends 1–4 on the CKMs in Channel Strip Mode.

To adjust Aux Sends in Channel Strip mode:

1 Bank the desired input or output channels.

2 Do either of the following to enable Channel Strip mode:

• Press a lit Select switch to de-select it and enable Channel Strip mode on the associated CKM.

• Press Select Clear to de-select all channels on the control surface and enable Channel Strip mode on all CKMs.

3 Navigate to the Aux Send Channel Strip mode parameter bank by pressing lit Parameter Bank switches, as available, until the

encoders appear purple.

Aux Sends 1–4 appear on the fifth page of Channel Strip mode parameters.

To toggle an Aux Send on/off:

 Press the encoder under the display showing the Aux Send you want to adjust, such as Aux 1.

On is shown in the encoder display when the send is on. Off is shown when the send is off.

To adjust Aux Send level:

 Rotate the encoder under the display showing the desired Aux Send.

To toggle an Aux Send pre-/post-fader:

 Press the encoder In switch under the display showing the desired Aux Send. The following control and on-screen elements in-

dicate that an Aux Send is pre-fader:

To adjust stereo send pan:

1 Press the corresponding encoder Sel switch so it lights. Send pan is now targeted to the corresponding encoder and P <Aux num-

ber/name> and pan value appears in the corresponding encoder display.

2 Rotate the encoder to adjust send pan.

When two Aux outputs are made stereo, no blank strips are created or inserted, and channels in the layout in that bank are

shuffled to the left, including the corresponding Aux Sends.

Sel

P. Aux 1

<0>

Pan

Pre

CKM encoder showing Aux Send

pan targeted to the encoder

Working with Aux Sends 141

Adjusting Aux Sends on Faders (Sends on Faders Mode)

The S6L system provides a Sends on Faders mode to facilitate monitor mixing workflows. Sends on Faders mode is available in

two forms, Direct, and Sends on Faders Follows AFL.

Direct Sends on Faders

Enabling the Sends on Faders button in the Universe View on the MTS lets you select any Aux to assign

its members’ sends (channels assigned to/feeding that Aux) to the faders, without soloing the Aux. Unlike spilling an Aux, Direct

Sends on Faders does not bank or change input strips.

Sends on Faders Follows AFL

In Sends on Faders Follows AFL mode, soloing an Aux output simultaneously assigns its sends to

the faders and routes the Aux output’s signal to the Monitor bus. This lets you simultaneously monitor the Aux output mix and ad-

just its send levels using the faders with the press of a switch or the touch of an on-screen button. You must enable

Sends on Fad-

ers Follows AFL functionality on the Options > Busses page of the external screen.

Sends on Faders mode only affects input channels. It does affect all input channels, however. If no input channels are banked when

Sends on Faders is activated, all “hidden” input channels also enter Sends on Faders mode. When banking to other input channels,

Sends on Fader mode remains enabled for the newly banked channels.

Associated CKMs remain unaffected in Sends on Faders Follows AFL mode, so all Channel Control or Channel Strip mode func-

tions for the banked channels remain freely available.

Using Direct Sends on Faders Mode

To use Direct Sends on Faders from the MTS:

1 Bank input channels to the faders in any fader banking mode, or bank a User Layout that includes input channels.

You can activate Sends on Faders in Split Banking mode, and Inputs and Layouts Fader Bank mode.

2 On the MTS, touch Universe, then touch Auxes to show Aux channel tiles.

3 On the MTS, tap to enable the Sends on Faders Channel Tile Function button.

4 Tap the Channel Tile for the Aux output whose sends you want to adjust.

The channel displays show SOF and the number or name of the Aux output.

5 To adjust the level of a channel assigned to the current Aux, adjust its fader or SOF knob (if the Aux is mono) on the associated

CKM.

Spill Mode for Outputs provides another way to bank channels assigned to Auxes.

Sends on Faders button enabled in Universe > Auxes

See also

Position Safe When Spilling.

<name>

Aux 1

SOF

CH1

S1 AD1

Channel number Channel name

Aux

Hardware input

Working with Aux Sends 144

Adjusting Stereo Sends in Sends on Faders Modes

To adjust Aux Send pan in Sends on Faders mode, the fader bank from which you are adjusting pan must be in Channel Strip mode.

To adjust stereo sends in Sends on Faders modes:

1 Bank to the desired input channels.

2 Use Direct Sends on Faders, or solo a stereo Aux output while Sends on Faders Follows AFL is enabled, to enter Sends on Fad-

ers mode.

Aux Send pan for each banked channel is assigned to the bottom row of encoders in Channel Strip mode,

and

P <Aux number/name> appears in the encoder displays.

3 Rotate the knob to adjust send pan for the corresponding channel.

• Press the send pan encoder In switch to toggle that send pre-/post fader.

VCAs Trim Aux Sends in Sends on Faders Mode

The VCAs Trim Aux Sends in SOF setting in Options > Interaction lets you use VCAs to quickly trim multiple Aux Send levels

(such as all drums, or all background vocals) while in Sends on Faders mode.

To use VCAs Trim Aux Sends in SOF:

1 Go to Options > Interaction and make sure VCAs Trim Aux Sends in SOF is enabled (its default setting).

2 Assign channels to Auxes and set their preliminary send levels.

3 Make sure you have assigned channels to VCAs.

4 Place an Aux into Sends on Faders mode. (For instructions, see the VENUE S6L System Guide.pdf)

The Input channel displays show SOF and the number or name of the Aux output.

5 Bank VCAs to fader strips.

• To access 8 Aux VCAs at a time, press a VCA soft key in the left bank of MLM Soft Keys.

• To access Aux VCAs across all fader strips, press the VCAs banking switch on the MLM.

The corresponding (VCA) fader strip displays show SOF VCA, the number and name of the VCA, and the number or name of

the Aux being trimmed.

Faders on SOF VCAs locate to 0 (unity). Trims made with SOF VCAs directly change the corresponding Aux send levels

(changes are not stored in the Show file). After exiting and re-entering SOF VCA mode, VCA faders again locate to 0 (unity).

6 Adjust a VCA to trim the corresponding Aux Send levels.

SOF VCA mode is designed to make small trim adjustments. Note that any offsets between channel Aux send levels can be lost

if the SOF VCA is lowered or raised to extremes.

VCA display in Aux VCA mode

When VCAs are in SOF VCA mode the blue “0” LED does not light, to indicate that SOF VCA mode is enabled.

Sel

P. Aux 1

<0>

Pre

<name>

Aux 8

SOF VCA

VCA1

VCA number VCA name

Aux

Working with Aux Sends 145

Adjusting Aux Sends on the External Screen

You can toggle individual sends on/off and pre-/post-fader, as well as view send level and pan (for stereo sends) for the attentioned

channel on the Inputs page of the external software.

To adjust Aux Sends on the external screen:

1 Go to the Inputs page.

2 Select the Inputs tab, then select the bank of input channels you want to access using the Input Channel Type buttons.

3 Attention an input channel.

4 To toggle an Aux Send on/off, select the thermometer-style indicator. When the indicator lights, the send is on. The indicator

lights in the color assigned to that Aux output.

For more information on working with channels on the external screen, see

Adjusting Parameters on the External

Screen.

Input Channel Type buttons

Inputs page Aux Sends section showing Auxes 1–4 enabled for the attentioned channel(s)

Working with Aux Sends 146

Expanded Aux Sends View on the External Screen

The Inputs page provides an expanded Aux Sends view that provides touch access to all Aux parameters. Auxes in Expanded Aux

view can be sorted, and the display filtered by color, favorites, and In status.

To use Expanded Aux view (refer to the figures):

1 Navigate the external screen to the Inputs page.

2 Tap in the Auxes view within the range of 16 Auxes you want to show in Ex-

panded view. Or tap the Expand icon in the upper right corner of the Aux

section to show the previously Expanded Aux view.

Expanded Aux view displays Auxes in banks of 16. All Aux parameters can

be adjusted on the external screen.

3 To show a different bank of Auxes, select a tab (such as 17-32).

4 To control how and which Auxes are displayed, use the Filter buttons (123 or

A–Z), color blocks, star, or IN (to show only Auxes that are on/enabled).

5 To make or change assignment to Mains, use the L-R and C/MONO buttons.

6 To access Reset and Channel Control Aux commands, tap the triangle above each Aux Level block and choose a command

from the pop-up menu and sub-menu.

7 To close the Expanded Aux view, tap the Expand icon (“2” in the figure).

Classifying Auxes for Snapshots

You can classify Aux Sends as monitor sends (“Mon”) or as effects sends (“FX”) for the purposes of scoping and safing each type

separately in snapshots.

Classifying Aux Sends. In addition, you can use the User Aux Scope tab to scope Auxes individually.

Expanded Aux view in the Inputs page

Aux Sends Touch zones in the Inputs page

Matrix Mixers 147

Matrix Mixers

This chapter covers using the S6L system’s Matrix Mixers, and includes the following topics:

Matrix Mixers Overview

The S6L system provides 16 (E6L-144) or 24 (E6L-192) mono Matrix Mixers for setting up alternate mixes, fill and delay feeds,

and cue, monitor or press mixes.

Each of the available Matrix Mixers can receive up to 24 discrete input sources. Input sources can be any combination of input

channels, Auxes, Groups, Monitor A or Monitor B, or Mains buses. Each Matrix Mixer has a mono output, but you can combine

two Matrix Mixers into one stereo Matrix output using the Make Stereo command (see

Make Selected Mono Strips Stereo/Make

Selected Stereo Strip Mono).

• Matrix Mixers Overview

• Assigning Input Sources to Matrix Mixers

• Adjusting Matrix Mixer Input Controls

• Delay Compensation with Matrix Mixers

• Adjusting Matrix Mixer Output Controls

• Snapshot Data and Parameters for Matrix Mixers

A Matrix Mixer on the Outputs page of the external screen

1 – Matrix Mixer Tab

2 – Matrix Inputs

3 – Matrix Input Source Selectors

4 – Matrix Input Controls

5 – Matrix Mixer Reset/Clear Selector

6 – Matrix Mixer Output Fader Strips

7 – Matrix Mixer Output Controls

Matrix Mixers 148

Assigning Input Sources to Matrix Mixers

Each Matrix Mixer can receive up to 24 discrete input sources. You can assign any combination of input channels, Auxes, Groups

or Mains buses Each Matrix Mixer has a mono output, but outputs can be linked to form a stereo pair. A variety of pickoff points

are available when assigning Matrix input sources. Matrix input source assignments are made using the external screen.

Pickoffs for each input are selected when you select the input source. Matrix Mixers provide the following pickoff points for source

channels:

Input Channels

Top of channel, Insert Return, or Pre-Fader Post-Mute

Output Channels

Pre-Fader Pre-Mute, or Post- Fader

Monitor Busses

Pre-Fader Pre-Mute, or Post-Fader

To assign input sources to a Matrix mixer:

1 On the external screen, go to the Outputs page.

2 Select the Outputs tab, then select the Matrixes Channel Type button.

3 Attention the desired Matrix Mixer(s).

4 Select the Input Source selector at the top of each Matrix channel

5 For each input source, choose the following:

• Choose the desired input source.

• Choose the desired channel.

• Choose from the available pickoff points.

While either Monitor A or B are assigned to any Matrix, Solo on that Matrix is unavailable.

Output Channel Type buttons

You can use Multi-Select to attention multiple Matrix Mixers and apply the same input source to all selected Matrixes.

Matrix Mixer input source menu showing input sources, channels, and pickoff points

Matrix Mixers 149

Adjusting Matrix Mixer Input Controls

You can adjust Matrix Mixer input levels using the CKM in Channel Control mode, or the external screen.

Adjusting Matrix Mixer Input Level

To adjust Matrix Mixers input levels:

1 Bank Matrixes to the faders.

2 Select a banked Matrix.

3 Press any MIX Channel Control Function switch on the associated CKM.

– or –

• Touch the Matrix Mixer touch zone on the associated CTM in Meters or Channel view.

The selected Matrix Mixer’s input controls are spilled to CKM encoders. The source for each Matrix Input is shown in the cor-

responding encoder display. The encoders for the different inputs are colored according to their global color-coding setting.

4 To toggle an input on/off, Press the encoder under the display showing the Matrix Mixer input you want to adjust.

The corresponding encoder In switch lights green when the input is on. On the CTM in Channel view, and the MTS in Meters

and Channel views, thermometer-style level indicators light when the input is on, and is dimmed when off.

5 To adjust input level, rotate the encoder under the display showing the desired Aux Send.

Input level is shown in the corresponding encoder display, on the CTM in Channel view, and on the MTS in Meters and Channel

views.

Matrix Mixer touch zone on the CTM in Channel view

Matrix Mixer input sources on the CKM encoders

Matrix Mixer input levels shown on the CTM in Channel view

Sel

Left

-Inf

Right

-Inf

Ch 9

-Inf

Aux 10

-Inf

Matrix Mixers 150

To enter an input levels on the external screen:

1 On the Matrix Mixer tab, touch the input level field.

2 Type in an amount using the keyboard, and then press Enter.

Linking and Unlinking Adjacent Matrix Inputs

Adjacent inputs to Matrix mixers can be linked or unlinked on a per input pair basis. Link status can be specified on a per Matrix

basis (for example, inputs 1 and 2 can be linked for Matrix 1, but unlinked for Matrix 2). This gives you the ability to control inputs

as either a stereo-linked pair or as independent mono inputs.

• When linked, level and source on/off controls are linked.

• When unlinked, discrete level and on/off controls affect each individual channel.

To link or unlink inputs to Matrix mixers:

1 On the external screen, go to the Outputs page.

2 Select the Outputs tab, then select the Matrixes Channel Type button.

3 Select the checkboxes below any adjacent inputs to link or unlink them. A check mark in the checkbox indicates a linked input

source; an empty checkbox indicates unlinked sources.

Matrix Mixer Input Pan

Matrix mixer input pan controls adjust the panning of each Matrix mixer input across the stereo outputs of a stereo Matrix Mixer.

To control Matrix send pan from the Global Control encoders:

1 Assign the Matrix mixer input source to Global Control for the stereo Matrix you want adjust.

2 Press the encoder Sel switch to assign send pan control to the encoder.

3 Adjust the encoder to adjust pan.

• Rotate to the left to pan the input source to the left (odd-numbered) Matrix mixer.

• Rotate to the right to pan the input source to the right (even-numbered) Matrix Mixer.

Entering a Matrix Mixer input level using a keyboard

Matrix link button

Matrix Mixers 151

Resetting Matrix Mixer Input Paramters

You can reset level, pan and stereo link settings for any matrix mixer. Input source assignments persist.

To reset a Matrix mixer parameter to its default value:

1 Attention one or more Matrix mixers you want to change.

2 Touch-and-hold (right-click) the encoder on-screen and choose Reset.

To reset all Matrix mixer parameters to their default values:

1 Attention one or more Matrix mixers you want to change.

2 Select the Matrix Mixer Reset/Clear Selector at the top right of the Matrix Mixer, and choose Reset Mix.

Clearing Matrix Mixer Input Assignments

You can clear mixer input assignments to quickly set all the input sources to None.

To clear Matrix input assignments:

1 Attention one or more Matrix mixers you want to change.

2 Select the Matrix Mixer Reset/Clear Selector and choose Clear Mix Sources.

Copying Matrix Mixer Input Settings

You can copy mixer settings from one Matrix mixer to another mixer of the same type. This lets you quickly duplicate monitor

mixes or other signal feeds.

To copy settings between mixers:

1 Attention the Matrix mixer that you want to be the destination of the copied settings so that it is displayed on-screen.

2 Select the Matrix Mixer Reset/Clear Selector and choose Replace With Mix and Mix Sources From.

3 Choose the Mtx (Matrix mixer) from the sub-menu whose settings you want to copy to the current Matrix Mixer.

Matrix Mixer Reset/Clear menu

Copying mixer settings overwrites all the settings on the destination mixer.

Matrix Mixers 152

Delay Compensation with Matrix Mixers

VENUE automatically compensates for the delay offsets that can arise when combining different signal paths within a Matrix

mixer.

Additional Information about Delay Compensation

• The overall latency through a Matrix is determined by the path with the highest latency.

• All inputs within a Matrix mix are guaranteed to be phase accurate, but mixes are not necessarily aligned to each other. This

ensures that all mixes are not penalized in the case of one or more exceptionally high-latency signal paths.

• Delay compensation only accounts for a channel’s post-insert pickoff. Channels that feed User Inputs and Auxes (pre-insert)

will not be fully compensated for.

• Any latency associated with Monitor buses is not included in the calculation of delay compensation for the corresponding Ma-

trix.

Adjusting Matrix Mixer Output Controls

You can bank Matrix Mixer outputs to the S6L’s faders and adjust level, solo, and mute using the channel strips. You can select

Matrix Mixers to adjust built in EQ and dynamics using the encoders on the associated CKM in Channel Control mode.

Each Matrix Mixer features the same output processing capabilities as other output channels: a built-in 7-band parametric EQ, a

built-in compressor/limiter, four plug-in slots (and one hardware insert slot), and the ability to insert a built in 31-band graphic EQ.

Accessing Matrix Mixer Output Processing on the External Screen.

You can adjust Matrix Mixer output parameters using the external screen, or by spilling them to the faders.

To access Matrix Mixer processing parameters on the external screen:

1 On the external screen, go to the Outputs page.

2 Select the Outputs tab, then select the Matrixes Channel Type button.

3 Attention the desired Matrix Mixer(s).

4 Select the CHANNEL tab to access built-in channel EQ and Comp/Lim

5 Select the GEQ tab to insert and adjust built-in GEQs. For more information see

Adjusting Parameters on the External

Screen.

To spill Matrix Outputs to the faders:

 See Spill Mode for Outputs.

Output Channel Type buttons

Matrix Mixers 153

Snapshot Data and Parameters for Matrix Mixers

Snapshots can store and recall all source assignments of each matrix mixer when the Matrix (“Mtx”) data type is scoped, as shown

in the following table.

The Recall Safe tab of the Snapshots page provides two data “Mix” data types that let you discretely “safe” source and/or user input

assignments to prevent them from being changed with a snapshot recall.

For complete information on VENUE snapshots, see

Snapshots.

Table 1. Snapshot data types and parameters for Matrix mixers

Snapshot Data Type Included Parameters (for Each Scoped Channel Strip)

MTX Mixer Input Sources and pickoffs; Mixer Input level, Mixer Input on/off state and Mixer Input Link state

Muting and Mute Groups 154

Muting and Mute Groups

Channels can be muted on the S6L system in two ways:

Explicitly

Using the channel strip Mute switch on the control surface, from the MTS, or from the fader strips on the Inputs and Out-

puts pages of external screen. Mute switches light solid red when they are explicitly muted.

Implicitly

As a member of a Mute Group or VCA, or when any other channel is soloed in SIP (Solo in Place) mode. Mute switches

flash when they are implicitly muted.

This chapter shows how to do the following:

• Mute Individual Channels

• Use Mute Groups

Muting Individual Channels

Explicit Mute

You can mute individual channels using the channel strip Mute switch, from the MTS, or from the external screen. Muting indi-

vidual channels always behaves in additive (latched) fashion. You can mute individual channels in any sequence, and they will re-

main muted until they are un-muted. Muting individual channels always mutes them explicitly.

Channel mute has the following characteristics, depending on the type of channel muted.

Input Channels

Channel mute is pre-fader on input channels.

Output Channels

Mute operation is post-fader on all types of Output buses.

Mains

Only the linked Main buses are muted/unmuted. See Linking/Unlinking Mains.

VCAs

When you mute a VCA, its member channels are muted. The VCA mute indicator lights solid red, and the member channel

Mute indicators flash to show they are muted as part of a VCA.

To toggle mute on individual channels from the channel strip:

1 Bank to the desired channels.

2 Press the Mute switch.

Mute lights solid red to indicate the channel is muted.

Muting and Mute Groups 155

To toggle mute on individual channels from the MTS:

1 Touch Universe to show the Universe view.

2 Touch a Channel Tile Type button (Inputs, Auxes Groups, Matrixes, VCAs or Mains) to access the desired channel(s) on the

MTS.

3 Touch the Mute Channel Tile Function button.

4 Touch a Channel Tile.

The Channel Tile is bordered in red and the Channel Tile Mute LED lights solid red to indicate the channel is muted.

To toggle mute on individual channels from an external screen fader strip:

1 Select the Overview, Inputs, or Outputs page.

2 Select the Mute button on the desired channels’ fader strip so it is lit.

Mute Channel Tile Function button

A Channel Tile showing a muted input channel

Fader strip Mute button enabled

Muting and Mute Groups 156

Mute Groups

Mute Groups let you mute and un-mute multiple channels simultaneously by pressing a single switch. This section shows how to

assign channels to Mute Groups, and toggle them on/off.

Assigning Channels to Mute Groups

You can assign any types of channels to Mute Groups except VCAs. You can also assign a Channel to multiple Mute Groups. Chan-

nels can be assigned and managed in the Mute Groups tab of the Control page on the external screen, where you can also give Mute

Groups custom names. You can also assign channels to Mute Groups using the MTS, or from the channel encoders in Channel Con-

trol mode.

Assigning and Managing Mute Groups in the Mute Groups Tab

The Control tab provides a Mute Groups sub-tab in which you can manage assignments and name your Mute Groups.

To access the Mute Groups tab:

 Navigate the external screen to Control > Mute Groups.

The Mute Groups tab provides the following features as shown in the figure above.

Mute Groups only affect the status of channel Mute switches, and do not affect the on/off status of Aux Sends, output of the Talk-

back/Oscillator section, or the routing of signals to the monitor outputs.

Control > Mute Groups

Mute Groups tab

Item Description

Access to up to 24 Mute Groups 24 selectable Mute Groups, each with Mute button and editable name

Members list List of channels assigned to the currently selected Mute Group

Multi-Assign button Enables/disables Assign to Mute Groups mode

Settings cog (gear icon) Commands to manage Mute Group assignments

Disable All Mute Groups button To disable (suspend) and re-enable all Mute Groups

2 3 4

Muting and Mute Groups 157

To select a Mute Group:

 Click its box in the Mute Groups tab. The selected Mute Group becomes outlined in blue and the Members list shows all chan-

nels assigned to that Mute Group.

To name a Mute Group:

1 Double-click any Mute Group name (such as Mute Group 1).

2 Enter a custom name and press Enter.

Mute Group names are shown on the MLM in the left column of the right Soft Keys.

To assign channels to the selected Mute Group:

1 Select the Multi-Assign button above the Members List.

2 Select the desired channels (on the control surface or on-screen) then press the flashing Multi-Assign button to confirm.

To toggle a Mute Group (mute/unmute its channels) from the external screen:

 On the external screen, press the Mute button for that Mute Group.

You can also toggle a Mute Group on/off using the Right Soft Keys on MLM. Mute Groups 1–6 are available from the first page

of the Right Soft Keys menu. Mute Groups 1–24 are available on the Mute Group sub-pages.

To toggle Mute Groups using the MLM:

1 In the left-hand column of the Right Soft Keys display, locate any Mute Group 1–6 that you want to activate.

To access all Mute Groups (1–24) press the Mute Groups key in the right-hand column of the Right Soft Keys display.

2 To turn a Mute Group on, press the corresponding Soft Key so it lights.

3 To turn the Mute Group off, press the corresponding Soft Key so it is unlit.

To disable all Mute Groups from the external screen:

 In Control > Mute Groups, press Disable All Mute Groups.

The Disable All Mute Groups button lights red and the Mute Groups alert appears on the external screen. To enable Mute Groups

press

Disable All Mute Groups again (it becomes unlit) or press Enable Mute Groups in the on-screen alert.

To create a new Mute Group with the members of an existing Mute Group:

1 Select the Mute Group you want to define.

2 Click the Settings cog (gear icon) and choose Replace with Members from, then

choose an existing Mute Group from the hierarchical sub-menu.

To remove a member from a Mute Group:

1 Right-click the channel in the Mute Group Members list and choose Unassign.

To clear a Mute Group:

1 Select the Mute Group you want to clear.

2 Click the Settings cog (gear icon) and choose Clear Members.

To attention a member of a Mute Group:

 Select the channel in the Mute Group Members list.

Entering a custom name for a Mute Group

Mute Groups menu

Muting and Mute Groups 158

Assigning Channels to Mute Groups Using the MTS and Channel Strips

To add or remove members of a Mute Group:

1 On the MTS, touch Mutes.

2 Touch the Attention Channel Tile Function button.

3 Touch the desired Mute Group Channel Tile so it is bordered in blue (attentioned) to target that Mute Group for the assignments.

The text in the upper left corner of the Channel Tile (such as MG 1 and MG 2) indicate the Mute Group number the Channel Tile

corresponds to.

4 Touch Multi-Assign on the MTS.

In the banner display on the external screen, a message appears indicating that the system is in Mute Group assign mode.

5 To add/remove channels using the MTS:

• Touch a Channel Tile Type button (Inputs, Auxes Groups, Matrixes, or Mains) to access those types of channels on the MTS.

• Touch any Channel Tiles so it is bordered in orange to add them to the Mute Group.

• Touch a Channel Tile so the orange border disappears to remove that channel from the Mute Group.

Mute Channel Tile Types button

An enabled Attention Channel Tile Function button

An attentioned Mute Group Channel Tile

Enabled Multi-Assign button on the MTS

Banner Display message indicating that Mute Group assign mode is active

Channel Tiles targeted for Mute Group assignment

Muting and Mute Groups 159

6 To add/remove channels using the channel strips:

• Bank to the desired channels.

• Press any channel strip

Attention switches to add them to the Mute Group. Selected Attention switches flash.

• Press a flashing Attention switch so it no longer flashes to remove it from the Mute Group.

7 To confirm the assignments and exit Multi-Assign mode on the MTS tap Multi-Assign so it is unlit.

• To cancel the assignments and exit Multi-Assign mode, touch the banner display message to expand the message, the select

Cancel.

To assign channels to Mute Groups in Channel Control mode:

 See

Assign VCAs and Mute Groups from Channel Control Encoders.

Toggling Mute Groups On/Off

You can toggle a Mute Group on/off using the Right Soft Keys on MLM, or using the MTS. Mute Groups 1–6 are available from

the first page of the Right Soft Keys menu. Mute Groups 1–24 are available on the Mute Group sub-pages.

Using the MLM

To toggle Mute Groups 1–6 using the MLM:

1 In the left-hand column of the Right Soft Keys display, locate any Mute Group 1–6 that you want to activate.

2 To turn a Mute Group on, press the corresponding Soft Key so it lights. The channels in that Mute Group are implicitly muted,

and their Mute switches (on the control surface) and Mute buttons (on the external screen) flash red.

3 To turn the Mute Group off, press the corresponding Soft Key so it is unlit.

To access all Mute Groups:

1 In the right-hand column of the Right Soft Keys display, locate Mute Group and press the corresponding Soft Key. Mute Groups

1–12 are shown in the display.

Right Soft Keys and display showing the main menu

Mute Group Soft Key

Global Controls

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

Global Controls

Mute Group 1

Mute Group

Function KeysMute Group 2

Muting and Mute Groups 160

2 Press any Soft Key to activate the corresponding Mute Group.

• Or press the lit Next switch to access Mute Group 13–24, then press the corresponding Soft Key.

The channels in that Mute Group are implicitly muted, and their Mute switches flash red.

To return to the first page of the Left Soft Keys menu:

 Press the lit HOME switch.

Using the MTS

To toggle a Mute Group from the MTS:

1 On the MTS, touch Mutes.

2 Touch the Mute Channel Tile Function button.

3 To turn a Mute Group on, touch the desired Mute Group Channel Tile so it is bordered in red and the Solo LED is lit red.

4 To turn the Mute Group off, touch the Mute Group Channel Tile so it is no longer bordered in red and LED turns off.

Next Page switch

Home switch

Mute Channel Tile Function button

An enabled Mute Group Channel Tile

Mute Group 6

NextHome

Muting and Mute Groups 161

Explicit and Implicit Channel Mute with Mute Groups and VCAs

Any input or output channel implicitly muted by a Mute Group or VCA can be explicitly un-muted, explicitly muted, and reset to

its implicit mute state by repeatedly pressing a channel Mute switch. Explicitly unmuting or muting a channel in this way does not

permanently remove that channel from the Mute Group or VCA.

This feature is useful to temporarily unmute a channel during a line check without having to release the entire Mute Group or VCA.

To cycle through the available Mute modes:

1 Activate a Mute Group, or mute a VCA. The Mute switches on all implicitly muted channels flash.

2 Press a flashing channel strip Mute switch to explicitly un-mute the channel. Its Mute switch is now unlit.

3 Press the same (now unlit) Mute switch again to explicitly mute the channel. The Mute switch is now lit solid.

4 Press the same Mute switch again to implicitly mute the channel and return it to being controlled by the active Mute Group or

VCA. Its Mute switch resumes flashing.

Snapshot Data and Parameters for Mute

Snapshots can store and recall mute status when the MUTE data type is scoped, as shown in the following table:

For complete information on VENUE snapshots, see Snapshots..

Select multiple channels first to be able to toggle all their states at once. The Mute behavior may vary if some, but not all, of the

selected channels are members of a Mute Group or VCA.

Table 2. Snapshot data types and parameters for Matrix mixers

Snapshot Data Type Included Parameters (for Each Scoped Channel Strip)

MUTE Explicitly muted channels, and channels implicitly muted via VCA mute.

Mute Group state and assignments cannot be stored nor recalled via Snapshots. Mute Group state and information is stored

with the Show file.

Soloing and the Monitor Buses 162

Soloing and the Monitor Buses

The S6L system provides two discrete, independently configurable Monitor buses, as well as two discrete headphone outputs on

S6L-32D/24D/24C, each of which is also independently configurable. S6L-16C provides a single headphone output. You can route

individual channels to either or both Monitor buses, and feed each Monitor bus to discrete hardware outputs and the headphone out-

puts.

This chapter shows how to configure the Monitor buses and soloing options on the S6L system, how to adjust the Monitor buses,

how to solo channels, and how to use the headphone outputs.

Configuring the Monitor Buses and Solo Options

The S6L system provides two discrete Monitor buses. Each bus is independently configurable. You configure your Monitor buses

using the Options > Buses page of the external screen.

Selecting a Solo Mode

Three Solo modes are offered for input channels: Pre-Fader Listen (PFL), After-Fader Listen (AFL) and Solo In Place (SIP). Out-

puts are always soloed in AFL mode. You can also toggle Solo modes using the AFL switch in the Monitoring section on the MLM.

To select a Solo mode:

1 On the external screen, go to the Options > Buses page.

2 Under Solo and Monitor Operation, select the Type pop-up menu and choose one the following Solo modes:

Pre-Fader Listen (PFL)

PFL Solo mode sends the signal from explicitly soloed input channels to the Monitor bus. The signal is

post-insert, pre-fader and pre-mute. Mono input signals are sent to both sides of the Solo bus, and the left and right sides of stereo

input signals are sent to the corresponding sides of the Monitor bus. PFL is the default Solo mode.

After-Fader Listen (Stereo AFL)

AFL Solo mode sends the signal from explicitly soloed channels and solo-safe inputs to the Mon-

itor bus. Soloing of outputs is always AFL. In AFL Solo mode, both input and output signals are sent to the Monitor bus post-fader

and post-pan/balance, and are always panned to stereo even if the Main buses are configured in L–C–R mode.

Solo In Place (SIP)

SIP mode applies to input channels only. SIP sends the signal from the soloed channel(s) to the Mains buses,

bypassing the Monitor bus. Signal is sent post-pan/balance. Show files do not open in SIP mode. If you save a Show file while in

SIP, when you reopen the Show file, it will open in PFL Solo mode.

Monitor Bus options on the Options > Buses page

In SIP mode, the soled channel(s) is (are) sent directly to the Main buses. Use this feature only at soundcheck.

Soloing and the Monitor Buses 163

Sends on Faders Follow AFL

When Sends on Faders Follow AFL is enabled, soling an Aux output simultaneously assigns its sends to the faders and routes the

Aux output’s signal to the Monitor bus (in AFL solo mode). Sends on Faders Follow AFL is enabled on each Monitor bus inde-

pendently. When enabling Sends on Faders, make sure to enable it on the Monitor bus your input channels are currently routed to

(assuming you want all input channels to be subject to Sends on Faders).

You can, for example, route some of your input channels to Monitor bus A with Sends on Faders disabled, and route other channels

to the other Monitor bus B with Sends on Faders enabled. You can then route each Monitor bus to a discrete hardware or headphone

output. If any input channels are targeted to both Monitor buses, then enabling Sends on Faders on either Monitor bus results in

Sends on Faders behavior for that channel.

To enable Sends on Faders:

1 On the external screen, go to the Options > Buses page.

2 Under Monitor Bus A or Monitor Bus B, select Sends on Faders Follows AFL so it is checked.

AFL Follows Sends on Faders

When AFL Follows Sends on Faders is enabled, entering Sends on Faders mode for an Aux solos that Aux output (requires that

the Monitor bus to which the Aux is assigned is configured for Stereo AFL). The AFL Follows Sends on Faders setting is stored

and recalled with each Show file. By default, the option is off (not selected).

To set AFL to follow Aux encoder assignment:

1 Go to the Options > Buses page.

2 In the Solo and Monitor Operations section, select the AFL Follows Sends on Faders option.

Select Follows Solo

See Select Follows Solo.

Auto Cancel and Input Priority

The Auto Cancel option determines whether Solo switches cancel other soloed channels or are additive (latching). The Input Pri-

ority option determines whether soloed inputs replace soloed outputs on the AFL/PFL Solo bus.

Auto Cancel On, Input Priority Off

A solo cancels all other solos (inputs and outputs)

Auto Cancel On, Input Priority On

An input solo cancels all other soloed inputs; an output solo cancels all other output solos; so-

loed inputs temporarily replace soloed outputs

Auto Cancel Off, Input Priority Off

Solos are additive, and soloed inputs and outputs are heard together

Auto Cancel Off, Input Priority On

Solos are additive, and soloed inputs temporarily replace soloed outputs.

Sending the Mains Mix to Monitors

This option sends the Mains mix signal to the selected Monitor bus. When enabled (lit), whenever channels are not soloed the Main

mix is present in the Headphones output (Phones A or B) that the Monitor bus is routed to (or to near-field monitors when a hard-

ware output is patched to the Monitor bus). This option mirrors the functionality of the

Mix to Monitors switch.

To send the Main mix to the Monitor bus:

 Press Mix to Mons on the MLM on the S6L control surface.

– or –

 Go to the Options > Buses page and select the Mix to Monitors option.

Soloing and the Monitor Buses 164

Monitor Output from an L-C-R Main Mix

The stereo Mix to Monitors signal is derived from the L–C–R Main mix by adding a –3 dB signal from the Center channel to the

Left and Right monitor channels.

Monitor Output from an L–R+M Main Mix

In a L–R+M Main mix, only the Left and Right channels are heard in the Monitor bus.

Listen to Monitors

This feature is not yet implemented.

Adjusting Monitor Buses

You can route and adjust Monitor bus levels using the S6L control surface or the external screen. You can apply a delay to each

Monitor bus on the external screen.

Routing Channels to the Monitor Buses

You can route any channel to either or both Monitor buses independently. You can route channels to Monitor buses using the chan-

nel strip Channel Menu and the external screen. By default, all channels are routed to Monitor Bus A. When you solo a channel,

the soloed signal is sent to the Monitor bus.

To route channels to the Monitor buses using the Channel Menu:

1 Bank the desired channels to the control surface’s faders.

2 Press the channel strip Menu switch until Monitor appears in the channel display.

3 To route the channel to Monitor Bus B, press the Left Menu switch so it is unlit. The Right Menu switch lights. Mon B appears

in the channel display, and on the CTM and MTS in Channel view.

4 To route the channel back to Monitor Bus A, press the Right Menu switch so it is unlit. The Left Menu switch lights. Mon A ap-

pears in the channel display, and on the CTM and MTS in Channel view.

5 To route channels to both Monitor buses, press the Left and Right Menu switches so they are both lit.

Mon A+B appears in the channel display, and on the CTM and MTS in Channel view.

To route channels to the Monitor Buses on the external screen:

1 Navigate to the desired channel on the Inputs or Outputs page of the external screen.

2 Select the Mons A/B/A+B button to cycle through the three Monitor Bus routing options for the attentioned channel.

When a channel is routed to both Monitor buses, any solo and monitoring options set on either bus affect the behavior of that

channel when soloed.

A channel display showing a channel routed to Monitor Bus A (Left) Bus B (center) and Buses A and B (right)

External screen showing a channel routed to Monitor Bus A (Left) Bus B (center) and Buses A and B (right)

Menu Safe

Mute

AS B

Mon B

Monitor

Menu Safe

Mute

AS B

Mon A

Monitor

Menu Safe

Mute

AS B

Mon A+B

Monitor

Soloing and the Monitor Buses 165

Adjusting Monitor Bus Level

The Monitoring encoder on the MLM lets you target a Monitor bus for level control of the targeted Monitor bus.

To adjust the level of a Monitor bus on the control surface:

1 Push the encoder to target the encoder to Monitor bus A or B. The A or B LED lights to indicate the currently targeted Monitor

bus.

2 Rotate the encoder to adjust the level for the targeted Monitor bus. Monitor bus levels are indicated on the Monitor Bar at the

bottom of the MTS.

To adjust the level for the Monitor bus on the external screen:

1 Go to Options > Buses.

2 In the Solo and Monitor Operations section, adjust the Monitoring encoder.

Delaying a Monitor Bus

You can delay a Monitor bus to time-align it with the sound coming from the stage.

To adjust monitor bus delay:

1 On the external screen, go to Options > Buses.

2 Select the In button beneath the on-screen encoder to enable Delay for the desired Monitor bus.

3 Select the Delay encoder in the section and drag to adjust. When lit, the Delay setting is applied to the monitor output.

Routing the Monitor Bus to Outputs and Plug-Ins

The Monitor bus can be routed to hardware outputs and to bus-fed plug-ins.

Hardware Outputs

For routing to hardware outputs, the Monitor (Solo) bus outputs are available in the Mains tab of the Patchbay

> Outputs page. Monitor bus outputs are assignable to any number of physical outputs on the system. Use this capability to route

monitor outputs to multiple cue stations (in-ear mix and wedge mix), to an outboard analyzer, to a listen wedge mix, or to near-field

monitors. Monitor busses can also be assigned as Matrix input sources.

Bus-Fed Plug-Ins

For routing to bus-fed plug-ins, the Monitor bus appears as a choice in the plug-in routing selector. This lets you

route the Monitor bus to a bus-fed stereo plug-in such as an onboard analyzer. Plug-ins can not be inserted on the Monitor bus.

Routing the Monitor Bus to Hardware Outputs

To route the Monitor bus to hardware outputs:

1 In the Patchbay, select the Outputs tab, then select the Mains tab.

2 Select a Hardware I/O tab to select the desired hardware output.

3 Select in the grid to assign the desired Monitor bus to the desired destination.

Routing the Monitor Bus to Plug-Ins

To route Monitor output to a bus-fed plug-in:

1 On the external screen, go to the Plug-Ins page.

2 Make sure the desired stereo plug-in is installed and assigned to a rack slot.

3 Select the Plug-In Input selector at the top of the corresponding rack slot, and choose Bus Outs > Mains > Monitor - stereo.

Monitor Bar

Solo In Place, when engaged, is simultaneously routed to the Main and Monitor buses.

Soloing and the Monitor Buses 166

Soloing Channels

Solo operation depends on the type of channel being soloed, and on any selected solo options. In all modes, a channel’s Solo switch

lights to indicate that the channel is soloed.

Input Channels

Soloing an Input Channel sends signal to the Solo bus (when in PFL or AFL modes) or to the Mains bus (when in

SIP mode). In SIP mode only, when a channel is soloed, all other channels that are not soloed or solo safe are implicitly muted. Im-

plicit mutes are indicated by a flashing mute switch.

Output Buses

Soloing an output channel sends signal to the AFL/PFL Solo bus. This applies to Groups, Auxes, and Matrixes. Out-

puts are always AFL. Stereo buses use true stereo AFL. When you solo a stereo bus, the two buses are heard as a stereo pair when

soloed. Mono buses are heard as dual mono when soloed.

Momentary And Latching Switch Operation

Channel strip Solo switches can operate with either momentary or latching behavior.

To engage momentary solo on a channel:

 Hold the Solo switch for more than one second. Release the solo switch to un-solo the channel.

To latch solo on a channel:

 Press and release the Solo switch. Press the switch a second time to unsolo the channel.

Soloing Single Channels

You can solo channels from the channel strip, the MTS, and the external screen.

To solo a single channel from the channel strip:

 Press a channel strip Solo switch so it lights. The solo switch latches on a momentary press.

– or –

 Hold the channel Solo switch for more than one second for momentary solo. The channel will automatically unsolo when you

release the switch.

To toggle solo from the MTS:

1 Touch Universe to show the Universe view.

2 Touch the appropriate Channel Type button (Inputs, Auxes, Groups, Matrixes, VCAs, or Mains) to show the channel you want

to solo.

3 Touch the SOLO Channel Tile Function button so it lights.

4 Touch the a Channel Tile. The Channel Tile is bordered in yellow and the Channel Tile Mute LED lights solid yellow to indicate

the channel is muted.

Solo Channel Tile Function button

A Channel Tile showing a soloed Aux output

Soloing and the Monitor Buses 167

To toggle solo on a single channel from an external screen fader strips:

1 Select the Overview, Inputs, or Outputs page:

2 Select the Solo button on the desired channels’ fader strip so it is lit.

– or –

• From the Inputs or Outputs page

Soloing Multiple Channels

You can solo multiple channels using channel strip Solo switches.

To solo multiple channels:

1 Bank the desired channels to the faders.

2 Do one of the following:

 With the Auto Cancel option enabled, press the Solo switches on multiple channel strips simultaneously.

– or –

 Hold Multi-Select and press the Solo switches on one or more channel strips.

– or –

 With the Auto Cancel option disabled, press Solo switches on multiple channels in any sequence. The Solo switches latch on.

Toggling the Solo Status of Multiple Channels

To toggle the Solo status of multiple channels, do one of the following:

 With the Auto Cancel option enabled, hold the Multi Select switch while pressing the Solo switches on channels you want to

toggle.

 With the Auto Cancel option disabled, press Solo switches in any sequence. The Solo switches latch on and off.

Soloing VCAs

When you solo a VCA, its member channels are soloed. If the VCA members include a combination of input and output channels,

their solo status follows any selected solo options.

Clearing Solos

To clear all soloed channels:

 Press the flashing Solo Clear switch to clear all soloed channels.

Fader strip Solo button enabled

The Events list can be used to assign the Solo Clear function to a footswitch or any other available trigger.

Soloing and the Monitor Buses 168

Solo Bus Metering

When a channel or dynamics key input is sent to the Solo bus, its signal is metered on the Selected Channel meters, temporarily re-

placing the metering for any currently targeted channel.

Trimming Solo Bus Level

PFL Solo bus monitoring levels can be controlled by the on-screen Level Trim control in the Solo and Monitor Operations section.

The trim amount is adjustable over a range of –20 dB to +20 dB.

PFL signals are frequently hotter than AFL signals. Because Level Trim only affects PFL signals, you can use Level Trim to bal-

ance PFL volume levels with AFL or Mix to Monitors volume levels, with a minimum of Monitoring level adjustment during a

show.

To trim the Solo bus level:

1 Solo a channel.

2 Go to Options > Buses, and adjust the Level Trim setting in the Solo and Monitor Operations section.

The following diagrams show the signal flow for PFL and AFL modes.

Solo Safing Channels

Solo Safing an input channel prevents that channel from being implicitly muted when any other channel is soloed. Solo safed chan-

nels are automatically added to any explicitly soloed channels. Solo Safe only applies to SIP and AFL solo modes. Solo safe status

is ignored in PFL mode.

You can Solo Safe channels using the Channel Safe

switches and on the external screen fader strips. You can also Solo Safe a chan-

nel using the CKM in Channel Control mode. Solo Safe mode is enabled on the Options > Interactions

page.

To enable Solo Safe for the Channel Safe switches:

1 On the external screen, go to the Options > Interaction page.

2 In the Channel Safe Switches section, under Inputs and Outputs, select Solo Safes as desired.

To Solo Safe channels using the Channel Safe switches:

1 Make sure you have enabled Bank Safe for the Channel Safe switches.

2 On the S6L control surface, do the following:

• Bank the desired channel to the faders.

• Press Safe for the channel you want Solo Safe.

Level Trim in PFL mode (left) and no Level Trim in AFL mode (right)

You can create an event that lets you cycle through the various Channel Safe switch modes, as well as suspend or disable Bank

Safe (Disable Bank Switch). See

Creating Events.

S6L Channel Safe switch engaged

Input Channel

Solos (PFL)

Output Channel

Solos (AFL)

Level Trim (PFL)

To Monitor/

Headphones

Input Channel

Solos (AFL)

Output Channel

Solos (AFL)

To Monitor/

Headphones

Menu Safe

Soloing and the Monitor Buses 169

3 On the external screen, do the following:

• Go to the Inputs or Outputs page, and navigate to the desired channel using the provided tabs and buttons.

• Select the Channel Safe switch for the desired channel, located at the top of each fader strip.

Solo Safe a channel using the CKM:

1 Bank the desired channel to the faders.

2 Select the to Automation Safe so it lights, and then press the INPUT Channel Control Function switch so it lights.

– or –

• Touch the channel’s Input touch zone on the associated Channel Touch Module (CTM).

3 Locate the Solo Safe encoder, indicated by Solo Sf on the encoder display, and press the encoder.

The encoder In switch lights green, and the channel is Solo Safed.

Solo Safe status for the channel is indicated as follows:

• On the control surface channel strip, the S LED lights yellow.

• In the Input section of the MTS and CTM Channel view for the channel, S lights yellow.

• On the external screen the Safe button flashes green and shows the letter S (A appears if the switch is acting as an Automation

Safe, and B appears if it is acting as a Bank Safe).

Automation Safe parameter on a CKM encoder

Indications that a channel is Solo Safed on the channel strip (left) the MTS/CTM Channel view (center) and on the external screen (right)

Sel

Solo Sf

Select

Solo

Mute

AS B

CH 1

Ch 1

0.0 dB

Soloing and the Monitor Buses 170

Using the Headphone Outputs

The front panel of the S6L-32D/24D/24C control surface provides two discrete headphone outputs (Phones A and B). S6L-16C

provide a single headphone output (Phones).

Configuring the Headphones Outputs

You can choose the Monitor bus that you want feeding each headphone output.

To configure the headphone output:

1 On the external screen, go to the Options > Busses page.

2 In the Headphones section, located the Phones A and Phones B pop-up menus. With S6L-32D/24D/24C, Phones A corresponds

to the left front-panel headphone jack, and Phones B corresponds to the right headphone jack.

3 Select a Phones pop-up menu, and choose one of the following:

• To feed Monitor Bus A to the headphone output, choose Mons A.

• To feed Monitor Bus B to the headphone output, choose Mons B.

Adjusting Headphone Level

Output level for each headphone output is controlled by its corresponding volume control located next to each headphone jack. The

overall level of the Monitor bus feeding the headphone output also contributes to the headphone level.

To adjust Headphone level:

 Adjust the headphone volume control to adjust level as needed.

The headphone volume control is post-Monitor bus level. If no signal is present on headphones, make sure the level for the Mon-

itor bus is set properly.

Part III: External VENUE Software

Screen

External VENUE Software Screen Overview 172

External VENUE Software Screen Overview

You do not need the external VENUE software screen to mix a performance, as all essential mixing controls are provided on the

S6L control surface. However, the external screen is essential when setting up and configuring the system before a performance.

Viewing Pages and Tabs

To access pages and sub-tabs on the external screen, use the buttons at the top of the external screen, F switches and Soft Keys on

the MLM, or the computer keyboard.

Using the External Screen

To view a page, do one of the following:

 Select a Page button at the top of the screen so it lights orange.

To view a tab:

 On the Overview, Filing, Snapshots, Patchbay, Control and Options pages, select a tab below the page names.

 On the Inputs and Outputs pages, select the tabs along the side of the fader section to access those types of channels.

 For output channels, select a tab below the page name to access processing functions for the currently attentioned channel.

Overview page button selected

Transfer tab of the Filing page selected

Outputs tab selected on the Outputs page

Matrix Mixer tab of a Matrix output selected

External VENUE Software Screen Overview 173

Using Switches on the MLM

The MLM provides F 1–5 switches in the Transport/Function switch section.

Transport/Function Switches

These dual-function switches provide dedicated switches to control the Pro Tools Transport, as well as programmable function

switches that you can use to control a wide range of system parameters using events.

When Trans is unlit, by default the switches target pages on the external screen, as follows:

Targets the Inputs page.

Targets the Outputs page.

Targets the Snapshots page.

Targets the Plug-Ins page.

Targets the Options page.

To view a tab:

 While viewing the Overview, Filing, Snapshots, Patchbay, Control or Options pages, press its corresponding F switch (1–5) re-

peatedly to cycle through available tabs.

Soft Keys

Function view on the MLM Soft Keys provide all default View mode events, letting you access Control, Overview, Filing, and

Patchbay pages and their tabs, in addition to Inputs, Outputs, Snapshots, Plug-ins, and Options.

To access Function view on the MLM:

1 Press the Function key in the right bank of MLM Soft Keys.

In Views with multiple tabs (such as Options) press its Soft Key repeatedly to cycle through its tabs.

2 To navigate to Functions 13–24, press the Soft Key below Next.

F1–5 switches

To see the default (factory) Function key assignments, use the

Clear Console command. All available Function Keys can be as-

signed and reassigned using Events.

Function switches (F1–F5), and Function Soft Keys

Flip

Trans

F1 F2 F3 F4 F5

Encoder

Assign

Select

Clear

Tap

Tempo

Mute Group 6

VCA 9-16

9-16

Ch 81-96

81-96

Trans

F1 F2 F3 F4 F5

Inputs/Outputs

Global Controls

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

Global Controls

Overview (F7)

Filing (F8)

Patchbay (F9)

F 10

F 11

F 12

F 7

F 8

F 9

F 10

F 11

F 12

F 1

F 2

F 3

F 4

F 5

F 6

Inputs (F1)

Outputs (F2)

Snapshots (F3)

Plug-Ins (F4)

Options (F5)

Control (F6)

External VENUE Software Screen Overview 174

To access all Function Keys:

1 In the right Soft Keys on the MLM, press the switch for Function Keys.

The first 12 currently assigned Function switches appear in the Soft Keys.

To view a tab:

 While viewing the Overview, Filing, Snapshots, Patchbay, Control or Options pages, press its corresponding F Soft Key repeat-

edly to cycle through available tabs.

By default, Function Soft Keys 1–9 target pages on the external screen (see Default F Key assignments and Keyboard Equiv-

alents). Target pages are shown in the Soft Key (Event) name.

Using the Computer Keyboard

You can also use the F keys on your computer keyboard to target pages on the external screen. Keyboard F keys map to VENUE

pages left-to-right. For example, keyboard F1 targets the Overview page, F2 Inputs, and so on.

The following table lists both the VENUE F key assignments and computer keyboard assignments.

Table 3. Default F Key assignments and Keyboard Equivalents

VENUE View

VENUE F keys

(default Event keys)

Keyboard F keys

Inputs

F1 F2

Outputs

F2 F3

Snapshots

F3 F5

Plug-Ins

F4 F7

Options

F5 F9

Control

F6 F8

Overview

F7 F1

Filing

F8 F4

Patchbay

F9 F6

External VENUE Software Screen Overview 175

Overview of Software Pages

The software screen provides the following pages and tabs.

Overview

View meters, attention, mute, and solo channels.

Inputs and Outputs Pages

Attention channels, and view, name, configure, and adjust parameters for the currently attentioned channel.

Overview page

Inputs page

See

Overview, Inputs, and Outputs Pages.

External VENUE Software Screen Overview 176

Filing

Load, save, and transfer shows and presets, and access the console History.

Snapshots

Store and recall snapshots, and access the Recall Safe window.

Filing page (Transfer tab)

See

Filing.

Snapshots page

See

Snapshots.

External VENUE Software Screen Overview 177

Patchbay

Patch input and output channels to hardware inputs and outputs, and name channels.

Patchbay page

See

Patchbay.

External VENUE Software Screen Overview 178

Plug-Ins

Configure and arrange plug-in racks, and assign, patch/route, and manage plug-ins.

Control

Manage Mute Groups and configure events.

Plug-Ins page

See

Plug-Ins.

Control page Events tab

See

Events. For Mute Groups, see Muting and Mute Groups.

External VENUE Software Screen Overview 179

Options

Configure system, routing and metering options, set interaction, hardware and general preferences, and install plug-ins.

Banner Display

At the bottom of the external screen, a banner display shows message and alert dialogs, and system status information at all times.

Messages, alerts, and warning dialogs in the banner display alert you to certain operating conditions such as Multi-Select and

Multi-Assign modes (appearing in blue), system alerts (appearing in orange) and warning dialogs (appearing in red). You can select

the messages and alerts shown in the banner display to expand the message, letting you confirm (OK) or cancel the current mode,

and dismiss alerts and warning dialogs.

When adjusting a parameter, the banner display shows the value of the parameter (such as fader level or EQ band gain) as you make

changes to that parameter.

The banner display also shows snapshot information, the current operating mode (Show or Config mode), and system status infor-

mation such a plug-in rack status and word clock status. You can choose to show the current time in the Status area (see

System

Clock for more information).

Options page (Devices tab shown)

See

Options.

Banner display showing a message

Banner display showing the value of the currently adjusted parameter

Banner display showing snapshot information, current operating mode, and status

External VENUE Software Screen Overview 180

Type Text Search

Type Text search lets you use the keyboard for fast navigation to a channel, or to quickly go to a specific snapshot or event. You

can enter the first characters of a channel name or the absolute channel number to target that channel on the external screen, or in

Channel Control (see also Selecting Channels.)

To search for and select a channel by name:

1 Go to the Inputs, Outputs, or Patchbay page.

2 Type the first few letters, channel number, or full name of the channel. For example, type “s” to go to the first channel beginning

with the letter s (such as Snare).

3 Press the Tab key on your keyboard to cycle through and select any other channels beginning with that letter (such as Snare Top,

Snare Bottom, or Strings).

To search for and select a list item by name (or number):

1 Go to the Snapshots page, Filing page, or the Events tab of the Options page. Or, select a Presets window (built-in Dynamics or

EQ presets, Input Channel presets, or Scope Sets).

2 Type the first few letters or number of the desired item.

3 Press the Tab key on your keyboard to cycle through and select any other items that begin with the same letters.

Channel Numbers and Names

Channel numbers in VENUE are “absolute” channel numbers. Renaming changes the displayed name associated with each chan-

nel, but the absolute channel number remains fixed.

To search for and select a channel by absolute number:

 Type a number on the keyboard to select the corresponding channel.

Overview, Inputs, and Outputs Pages 181

Overview, Inputs, and Outputs Pages

The Overview, Inputs, and Outputs pages of the external VENUE software screen show channel data for system input and output

processing channels, and let you adjust certain channel parameters, as follows:

Overview

Provides output meters for all system input or output channels, and lets you attention, solo, and mute channels. If using

an S6L-16C, the Universe view is a tab available in the Overview page. (On other control surfaces, Universe view is displayed on

the MTS.)

Inputs and Outputs

Show channel data for the currently attentioned channel, including virtual fader strips for up to 64 channels at

a time, and let you adjust many different channel parameters for the currently attentioned channel. The Inputs and Outputs pages

also let you perform tasks such as reordering input channels using drag-and-drop, copying and pasting channel settings, inserting

blank channel strips, and managing members of output channels.

Navigating the Overview, Inputs, Outputs Pages

To access the Overview, Inputs, or Outputs page, use the buttons at the top of the external screen, buttons on the MLM, or the key-

board.

To access the Overview page:

 Select the Overview button, or press the F1 key on the keyboard.

To access the Inputs page:

1 Select the Inputs button.

2 Press the F1 Function switch on the MLM.

– or –

• Press the F2 key on the keyboard.

To access the Outputs page:

1 Select the Outputs button.

2 Press the F2 Function switch on the MLM.

– or –

• Press the F3 key on the keyboard.

Universe View

If using an S6L-16C, the Universe view is a tab available in the Overview page. On other control surfaces, Universe view is dis-

played on the MTS.

Overview page button selected

Overview, Inputs, and Outputs Pages 182

To access channels on the Inputs or Outputs page:

1 Go to the Inputs or Outputs page.

2 Select the Inputs or Outputs tab along the side of the fader strip section.

3 Do either of the following depending on the tab you selected:

• For inputs, select the button showing the channel range you want to access (CH 1–64, CH 65–128, or CH 129–192).

• For outputs, select the button showing the type of output channels you want to access (Aux x–xx, GROUPS, MATRIXES,

VCAs, or MAINS).

To access channels on the Overview page:

1 Go to the Overview page.

2 Select the Inputs or Outputs tab, under the Overview button, to access those respective channels on the Overview page.

Solo and mute are activated by clicking on the corresponding icon.

Input Channel Bank buttons (left) and Output Channel Type buttons (right)

Overview page Inputs and Outputs tabs (Inputs selected)

Overview, Inputs, and Outputs Pages 183

Attentioning Channels from the External Screen

You can attention channels from the Overview, Inputs, or Outputs page. When you attention channels from the external screen, the

channels are also attentioned on the channel strips and on the MTS (and vice-versa). By default, the Inputs or Outputs page shows

the attentioned channel’s parameters, which you can adjust on the external screen.

To attention a channel on-screen

 Touch anywhere in the on-screen fader strip, except on the fader, mute, solo or safe buttons.

To attention multiple channels on-screen:

 Press and hold the Multi-Select switch (or hold Shift on the keyboard) and touch the fader strips on-screen.

To select an 8-channel bank on-screen:

 Touch the bank name (such as 1–8 or Aux 1–8) below the on-screen fader strips to select all the channels in that bank. Hold Shift

and touch to select additional banks or channels. One channel remains the attentioned channel, and lights blue.

To select all input channels or all output channels on-screen (Multi-Select):

 Double-tap any bank name below the on-screen fader strips in the Input or Outputs screen. One channel remains the attentioned

channel, and lights blue.

To remove a channel from a selection:

 Control-touch (or Fine-touch) a highlighted channel.

To exit a Multi-Selection:

 Press the Cancel switch on the MLM, or the Cancel button in the on-screen banner display.

Touch in the indicated areas to attention a channel from the external screen fader strips (Inputs/Outputs page at left, Overview page at right)

Select the bank display to select multiple channels on-screen

Overview, Inputs, and Outputs Pages 184

Adjusting Parameters on the External Screen

This section describes how to adjust channel parameters on the external screen. Control over the parameters described here are

common to input and output channels.

Adjusting Faders on the External Screen

You can move on-screen faders independently or in ganged fashion.

To adjust a single fader on-screen, do one of the following:

 Touch, hold, and drag the fader of one of the attentioned channels.

To move multiple faders on-screen in ganged fashion:

1 Attention multiple channels on-screen.

2 Touch, hold, and drag the fader of one of the attentioned channels.

The faders on the selected channels will move in ganged fashion. Any offset between the faders is maintained until at least one of

the faders is minimized (moved to –INF) or maximized (set to +12dB).

To reset an entire channel to its default settings:

 On-screen, touch and hold (right-click) the on-screen fader and choose Reset Ch <n>.

Adjusting Encoders on the External Screen

You can adjust on-screen encoders by dragging the encoder.

To adjust an on-screen encoder:

1 Touch an encoder so that it is highlighted.

2 Drag upwards to turn the encoder clockwise; drag downwards to turn the encoder counter-clockwise.

Drag a fader on-screen to adjust channel level

On screen encoders

Overview, Inputs, and Outputs Pages 185

Adjusting Values on the External Screen

In addition to typing numeric values in text boxes, you can adjust parameter values and numeric option settings on-screen by drag-

ging directly over the corresponding text box, and by entering values using the keyboard.

To adjust a value on-screen by dragging:

1 Select the text box to highlight the value.

2 Drag up to increase the value; drag down to decrease the value.

– or –

• Type in a value using the keyboard, and press Enter.

Toggling Buttons on the External Screen

You can toggle on-screen buttons such as Solo and Mute by touching (selecting) the on-screen button.

To toggle an on-screen button:

 Touch the button to toggle that parameter on/off. The button lights when the parameter is on.

Resetting Channels and Parameters from the External Screen

You can reset a single parameter, and reset an entire strip (including its I/O hardware patching) to default settings from the external

screen.

To reset an on-screen parameter to its default value, do one of the following:

 Touch-and-hold (right-click) the control and choose Reset <parameter> to <default value>.

To reset all parameters on a channel:

1 Enable Config mode.

2 Go to the Inputs or Outputs page.

3 Touch-and-hold (right-click) the fader strip and choose Reset <channel name/number>.

Entering a parameter value on the external screen

Overview, Inputs, and Outputs Pages 186

Working with EQ and Dynamics on the External Screen

You can adjust built in channel EQ, Graphic EQs (GEQs), and Dynamics on the Inputs and Outputs pages for the attentioned chan-

nel. You can also insert GEQs on the Outputs page. Input Direct, for input channels only, lets you bypass all EQ and Dynamics.

Adjusting Channel EQ

on the External Screen

You can toggle EQ on/off, adjust frequency and gain for any available EQ band of the built-in EQ, toggle Analog and Digital EQ

modes, and engage Input Direct.

To toggle EQ on/off:

1 Go to the Inputs or Outputs page and attention the desired channel.

2 Select the EQ in/out button. The EQ is in when the button lights.

To adjust EQ on the screen using the Graph display:

1 Go to the Inputs or Outputs page and attention the desired channel.

2 Select the EQ in/out button to put the EQ in circuit.

3 Drag the handles in the on-screen EQ graph display for each EQ band (Lo, Lo-Mid, Hi-Mid, or Hi), as follows:

• Drag a handle right or left to adjust EQ band frequency.

• Drag a handle up or down to adjust EQ band gain.

Analog and Digital EQ Modes

The Analog button on the Inputs and Outputs pages of the external screen toggles the built-in EQ between digital mode and analog

mode, on a per-channel basis, and is adjusted on-screen.

Digital Mode

Provides a standard digital parametric EQ. Frequency range of 20Hz to 20kHz and gain range of +/–18 dB are avail-

able on all bands. Hi and Lo bands can be Bell (default) or Shelf. Digital Q is expressed in Q factor terms in the range 10 (left, a

narrow band) to 0.1 (right, a wide band). Digital mode is the default EQ mode.

Analog Mode

Provides an EQ with a response modeled on that of an analog console renowned for its EQ section. Frequency range

is limited to match, and the outer bands provide shelving only. Analog Q is expressed in octaves of bandwidth in the range 0.1 (left,

a tenth of an octave) to 2 (right, two octaves.)

EQ in/out button

Drag the handles in the EQ graph display to adjust EQ

The HPF and LPF does not change when the EQ is switched between Digital and Analog mode.

Overview, Inputs, and Outputs Pages 187

To toggle analog and digital EQ modes:

 Select the Analog button. Analog lights when the EQ is in analog mode, and is unlit when in digital mode.

Adjusting Graphic EQ on the External Screen

S6L systems provide 32 built-in 31-band Graphic EQs (GEQs), which you can insert on the Mains, Group, Aux, and Matrix out-

puts. You can adjust GEQs on the external screen, as well as using the CKM (see Adjusting Graphic EQ on the Control Sur-

face).

To insert a Graphic EQ on an Output bus:

1 Go to the Outputs page and attention the output channel in which you want to insert the Graphic EQ.

2 Select the GEQ tab.

3 Select the Graphic EQ selector and choose an available mono or stereo Graphic EQ.

The entire Graphic EQ is displayed on-screen.

To toggle the GEQ in/out:

 Select the GEQ in/out button. GEQ is in when the button lights.

To adjust GEQ on the external screen:

 Drag the GEQ band sliders up or down to adjust band gain.

Analog/Digital EQ button (Analog enabled)

Selecting a Graphic EQ

GEQ in/out button

GEQ sliders

Overview, Inputs, and Outputs Pages 188

To adjust GEQ overall output level:

 Drag the GEQ output level encoder, or select the level field and type in a value.

Adjusting Dynamics on the External Screen

To toggle Dynamics on/off:

1 Go to the Inputs or Outputs page and attention the desired channel.

2 Select the Exp/Gate and/or Comp/Lim in/out buttons, as desired. The processor is in when the button lights.

To adjust Dynamics on the screen using the Graph display:

1 Go to the Inputs or Outputs page and attention the desired channel.

2 Select the EQ in/out button to put the EQ in circuit.

3 Drag the handles in the on-screen Dynamics graph display as follows:

• To adjust Comp/Lim threshold and ratio, drag the blue handles.

• To adjust Exp/Gate threshold and ratio, drag the orange handles.

GEQ output level

Dynamics In/Out buttons

Comp/Lim handle (top, in blue) and Exp/Gate handle (bottom, in orange)

The Dynamics Graph does not support Fine adjust mode using the Fine switch.

Overview, Inputs, and Outputs Pages 189

Sidechain

You can engage a built-in Dynamics processor sidechain, select the external key sidechain input, and engage key listen using the

external screen. For an overview of S6L system sidechain processing, see Sidechain.

Engaging the Sidechain

The sidechain must be engaged to enable both external key and EQ filter sidechain processing for the selected channel. The Key

In control can be toggled in or out of circuit from Channel Control or on-screen.

To toggle the side-chain in or out of circuit from the Inputs or Outputs page:

 For Comp/Lim, select the COMP/LIM Sidechain tab, and then select the Key In button.

 For Exp/Gate, select the EXP/GATE Sidechain tab, and then select the Key In button.

Selecting the External Key Sidechain Input

(Key Source)

The Key Source selectors lets you select the side-chain source for either dynamics processor

and its pickoff point. You can use any of the following as the key source for the Comp/Lim

and the Exp/Gate:

•Self

• Any input channel

• Console hardware inputs

• You can also specify the pickoff source for the key signal for input channels.

To select the key input for the sidechain:

1 Go to the Inputs or Outputs page and attention the desired channel.

2 Select the EXP/GATE Sidechain tab in the dynamics section to select the gate.

3 Select the Key Source selector and choose an available channel or bus.

To select a pickoff point for the key source signal:

 Select the Source Pickoff selector and choose one of the following pickoff sources for the selected key signal: Top of Channel,

Insert Return or Pre-Fader.

Key In button

Key Filters are engaged and adjusted using the CKM in Channel Control mode. See

Using Sidechain EQ Filters.

Choosing a Key Source

Overview, Inputs, and Outputs Pages 190

Key Listen

The Key Listen button toggles the key onto the Solo bus, replacing the signal there. This happens regardless of whether the key is

the channel signal or the external key, or whether it has been side-chain filtered.

Key Listen always overrides all other signals on the Solo bus. If soloed channels are already on the Solo bus, they are suppressed

until Key Listen is cleared. If additional channels are soloed while Key Listen is on, they will be added but suppressed.

The Key Listen solo is also exclusive to itself; pressing Key Listen on a different processor or channel turns off the previous Key

Listen and the new Key Listen takes over.

To engage Key Listen:

 Select the Listen button in the on-screen Exp/Gate controls.

To disengage Key Listen:

 Select Listen again. The Solo bus reverts to its previous signal (soloed channels, or none). You can also press Solo Clear once

to turn off any currently engaged Key Listen button. Press Solo Clear a second time to clear channel solos, if any.

Input Direct

Input Direct lets you completely bypass the built-in dynamics and EQ processing, and all inserts on input channels. This mode

routes the input signal directly from the Top of Channel pickoff to the channel fader.

To bypass all processing on an input channel:

1 Go to the Inputs or Outputs page and attention the desired channel.

2 Select the Input Direct button in the EQ section. All built-in channel EQ and Dynamics are bypassed, and the button flashes to

indicate Input Direct mode is active.

Key Listen on a dynamics plug-in does not route the signal to the solo bus, but to the plug-in output. Use caution when using the

Key Listen with a plug-in dynamics processor.

Input Direct button

Overview, Inputs, and Outputs Pages 191

Copying and Pasting Settings

Copying and Pasting Channel Settings

You can copy channel settings in their entirety from one channel and paste them to one or more channels from the Inputs and Out-

puts pages. Using the Events list, Copy and Paste can be assigned to any Function switch on the console. For more information, see

Events.

To copy and paste channel settings on-screen:

1 Go to the Inputs or Outputs page and attention the channel whose parameters you want to copy.

2 Touch-and-hold (right-click) within the upper channel display and choose Copy.

3 Attention one or more destination channels. You can only paste to attentioned/multi-selected channels.

4 Touch-and-hold (right-click) on the lower fader strip on-screen, or on any non-control area of the destination channel, and

choose Paste to Selected Strip(s). The status displays shows a message confirming the operation.

Parameters and Channel Types

Input channels can only be copied or pasted to other Input channels. Output channels can only be copied or pasted to other channels

of the same type (such as Aux, Group, or Matrix). When pasting channel settings:

• Settings common to the source and destination channel are always pasted.

• Copied settings with no corresponding parameter in the destination channel are ignored.

• Settings in the destination channel with no corresponding parameters are left unchanged.

Copying and Pasting Mono and Stereo Channel Settings

You can copy a mono channel and paste its settings to one or more stereo channels. Mono settings are applied equally to the left

and right channels of the stereo destination. The stereo destination channel retains its current balance and width settings.

You can also copy a stereo channel and paste its settings to one or more mono channels. The left channel settings of the stereo

source are applied to the mono channel(s). The mono destination channel retains its current pan setting.

You can also store and load settings as Input Channel Presets. For information, see

Input Channel Presets.

Channel Copy/Paste pop-up menu

You do not need to select the channel before copying its settings on-screen.

Overview, Inputs, and Outputs Pages 192

Settings Excluded from Copy and Paste

Input Channels

The following Input channel parameters are not copied or pasted (the current settings of the destination channels

are retained):

• Patchbay assignments, including Direct Outs

• Channel Name

• Hardware and software insert (plug-ins) assignments and in/out state.

Output Channels

The following Output channel parameters are not copied or pasted (the current settings of the destination chan-

nels are retained):

• Patchbay assignments, including Direct Outs

• Channel Name

• Hardware and software insert (plug-in) assignments and in/out status

• GEQ settings

• Output membership (the assignment of channels to an Aux, Group VCA, or Matrix).

Copying and Pasting EQ Settings

Built-in channel and Graphic EQ settings can be copied and pasted between channels. EQ presets can also be saved and loaded to

archive and transfer settings.

To copy and paste an EQ setting:

1 Go to the Inputs or Outputs page and attention the channel whose parameters you want to copy.

2 Do one of the following:

• To copy a channel EQ setting, touch-and-hold (right-click) the on-screen EQ section or EQ graph (not on an encoder) and

choose

Copy EQ Settings.

– or –

• To copy a Graphic EQ setting, touch-and-hold (right-click) the graphic EQ display (not on a fader) and choose Copy GEQ

Settings.

3 Attention one or more destination channels. You can only paste to attentioned/multi-selected channels.

4 Do one of the following:

• To paste a channel EQ setting, touch-and-hold (right-click) in the new channel’s EQ section or graph and choose Paste EQ

Settings. All EQ settings, including HPF settings, are copied to the new channel.

– or –

• To paste a Graphic EQ setting, touch-and-hold (right-click) in the new channel’s Graphic EQ section and choose Paste GEQ

Settings.

To copy GEQ settings, use the copy/paste GEQ shortcut or use GEQ Presets. Use the Replace with Mix (members) From com-

mand to replace output membership for an Aux, Group, VCA, or Matrix.

EQ Reset/Copy/Paste pop-up menu

Overview, Inputs, and Outputs Pages 193

Copying and Pasting Dynamics Settings

Built-in dynamics settings can be copied and pasted between channels.

To copy and paste dynamics settings:

1 Go to the Inputs or Outputs page and attention the channel whose parameters you want to copy.

2 Touch-and-hold (right-click) anywhere in the Comp/Lim or Exp/Gate (input channels only) areas of the on-screen dynamics sec-

tion and choose Copy <channel number/name> Settings.

3 Attention one or more destination channels. You can only paste to attentioned/multi-selected channels

4 Touch-and-hold (right-click) in the Comp/Lim or Exp/Gate areas of the on-screen dynamics section and choose Paste

Comp/Lim Settings or Paste Exp/Gate Settings.

To copy and paste all of a channel’s built-in dynamics settings:

1 Go to the Inputs or Outputs page and attention the channel whose parameters you want to copy.

2 Touch-and-hold (right-click) in the on-screen Dynamics Graph and choose Copy Dynamics Settings.

3 Attention one or more destination channels. You can only paste to attentioned/multi-selected channels

4 Touch-and-hold (right-click) in the on-screen Dynamics Graph of the new channel and choose Paste Dynamics Settings.

Configuring Channels on the External Screen

Naming Channels

You can name channels from the Inputs and Outputs pages. Channel names can be up to 32 characters in length. When displayed

on the control surface, names are abbreviated to fit the display.

To change the name of a channel:

1 Go to the Inputs or Outputs page.

2 Attention the channel whose name you want to change.

3 Double-tap the channel name.

4 Type a new name and press Enter on the computer keyboard.

Dynamics Copy/Paste pop-up menu

Changing the name of an Input Channel on the Inputs page

Overview, Inputs, and Outputs Pages 194

Make Selected Mono Strips Stereo/Make Selected Stereo Strip Mono

You can combine pairs of mono channels to make stereo channels, whose left and right sides are then controlled by a single channel

strip on the S6L control surface and on the fader strips on the external screen. This can be useful for creating effects returns or play-

back channels, for example. Input and output channels can be combined into stereo channels, except VCA and the Mains. You can

also split stereo channels back into mono channels

To combine two mono input channels into a single stereo channel:

1 Put the system into Config mode.

2 Multi-Select two channels.

3 Touch-and-hold (right-click) either of the selected mono channels on-screen and choose Make Selected Mono Strips Stereo.

 Each selected channel is combined with the next-highest selected channel, even if the selected channels are not consecutive.

 For input channels, blank strips are created and inserted where necessary to maintain channel layout in that bank.

 For output channels, no blank strips are created or inserted, and channels in the layout in that bank are shuffled to the left, in-

cluding the corresponding Aux Sends.

 Parameter values from the left most channel of each pair are applied to both channels

 The pan control becomes a Balance/Width control.

 Combined channels are shown in the Patchbay as left and right sides of the channel name. Mains and VCAs cannot be combined

or split.

 In the Options > Buses page for Stereo Auxes, and the Bus Assign section for stereo Groups, stereo status

of a bus is indicated by two interlocking green circles.

Two mono inputs about to be combined into one stereo channel

Stereo Input Channel on the Input tab of the Patchbay

Overview, Inputs, and Outputs Pages 195

To split a stereo channel into two mono channels:

1 Put the system into Config mode.

2 Attention the stereo channel you want to split.

3 Touch-and-hold (right-click) the attentioned channel and choose Split Selected Stereo Strip to Mono.

The stereo channel is split, placing the channels next to each other on the control surface and in the Patchbay. Delete blank strips

manually to maintain channel layout, if necessary.

Move Selected Strip

You can move an attentioned Input, Aux, Group, or Matrix strip from its current position to a new location. When you move a chan-

nel using Move Selected Strip, other channels are moved (and renumbered) lower or higher to accommodate the moved channel.

To move a Channel strip:

1 Put the system in Config mode.

2 Go to the Inputs or Outputs > Auxes, Groups, or Matrixes page and attention the channel whose parameters you want to move.

3 On-screen, touch-and-hold (right-click) on the destination strip (where you want to move the attentioned channel).

4 Choose Move Selected Strip Here from the pop-up menu. The channel strip is moved before the destination strip.

Inserting Blank Strips

(Input Channels Only)

The Insert Blank Strip command lets you insert one or more blank (or “spacer”) strips anywhere among your input channels. In ad-

dition, blank strips are automatically inserted when you use the Make Stereo command to convert two mono input channels into a

single stereo channel, preserving the channel layout.

Blank strips are strictly placeholders (no audio or any type or processing take place), and therefore consume no additional process-

ing overhead or DSP resources. Use blank strips to create obvious divisions between groups of instruments, or to optimize the bank

placement of inputs on the console. Blank strips are saved and loaded as part of the Show file.

Blank Strips on the Control Surface

A blank strip has no LCD channel name display, and all of its physical controls and indicators are inactive. Blank strip faders are

set to the bottom (–inf) position and always revert to this position if moved.

Blank Strips On-Screen

On the MTS Universe view, blank strips appear as blank Channel Tiles. On the external screen, blank strips appear as a simple gray

strip with no fader, buttons or meter. Insert and remove blank strips on the external screen.

Snapshots cannot store and recall custom console channel positions.

You can also drag and drop channels. See

Reordering Channels Using Drag and Drop.

Overview, Inputs, and Outputs Pages 196

Adding Blank Strips

Blank strips can be inserted manually, and are also created automatically when you use the Make Stereo command. You can also

insert multiple blank strips.

To manually add a blank strip:

1 Enable Config mode.

2 Go to the Inputs or Outputs page.

3 Touch-and-hold (right-click) an input channel strip (or a blank strip) at the location where you want to insert a blank strip and

choose Insert Blank Strip. For example, if you want to have a blank strip at channel strip 16, touch-and-hold (right-click) on

channel 16.

All channels to the right of the insertion point are shuffled one position to the right.

To insert multiple blank strips:

1 Enable Config mode.

2 Create a multi-selection of channels.

3 Touch-and-hold (right-click) on one of the selected channels and choose Insert Blank Strips at Selection.

A blank strip is inserted in place of each selected channel strip, shifting all channels accordingly and maintaining the multi-selec-

tion.

Blank Strips When Using Make and Split Stereo

VENUE automatically creates blank strips when you use the Make Stereo command in order to preserve the current channel layout.

Similarly, blank strips may be automatically removed when you use the Split Stereo command to revert a stereo strip to its two con-

tributing mono channels.

Make Stereo

A blank strip is automatically inserted at the location previously occupied by the right-side channel of the

newly-formed stereo pair. There is no shuffling of the remaining input channels as a result of this operation.

Split Stereo

The behavior when splitting a stereo strip into two mono strips is as follows:

• If a blank strip is located immediately adjacent to the (previously) stereo channel, the right channel of the stereo pair occupies

this position and the blank strip is automatically removed. No other channels shuffle.

• If no blank strip is located immediately adjacent to the (previously) stereo channel, all channels to the right of the split point

shuffle one position to the right and the right channel of the stereo pair is inserted.

Blank strip menu

Overview, Inputs, and Outputs Pages 197

Removing Blank Strips

To remove a blank strip:

 Touch-and-hold (right-click) the blank strip you wish to remove and choose Remove Blank Strip.

To remove all blank strips:

 Touch-and-hold (right-click) any blank strip and choose Remove All Blank Strips. Blank strips are removed and all channels to

the right are shuffled to the left.

Reordering Channels Using Drag and Drop

You can reorder Input channels, Auxes, Groups, and Matrixes by dragging and dropping on-screen. You can reorder any channels

in a User Layout, including output channels. When you reorder channels, the location of the channel changes on the control surface

and on-screen. The original hardware input for the channel remains the same, and all other channel parameters are preserved.

To reorder a channel:

1 Put the system into Config mode.

2 Go to the appropriate page on the external screen, depending on where you want to reorder channels:

• To reorder input channels, go to the Inputs page and select the Inputs tab.

• To reorder output channels, go to the Outputs page and select the Aux, Groups, or Matrixes tab.

• To reorder channels in a User Layout, go to the Inputs or Outputs page, and then select the Layouts tab.

3 Attention the channel you want to move.

4 Touch-and-hold the channel then drag it to the desired location., denoted by the orange line, then release your finger.

Inserting Plug-Ins on Channels

You can insert plug-ins on input and output channels directly from the Inputs or Outputs page, or from the Plug-In Rack. For com-

plete information on routing and inserting plug-ins, see Routing Plug-Ins.

Reordering an Input channel using drag and drop

You can select and reorder multiple input channel strips. Shift-Touch multiple fader strips and drag them to the new location.

Channels can also be moved using the Move Selected Strip command. See

Move Selected Strip.

You can also insert outboard hardware. See Hardware Inserts.

Overview, Inputs, and Outputs Pages 198

Input Channel, EQ, and Dynamics Presets

You can use Presets to store and load input channel settings, built-in channel EQ and GEQ settings, and Dynamics settings from

the Inputs and Outputs pages.

Input Channel Presets

You can store and load input channel configurations as Input Channel Presets. Input Channel Presets can be previewed, loaded and

transferred just like other Preset files, letting you quickly configure channels from among a library of favorite setups.

When an Input Channel is stored or recalled as a preset, all parameters are affected except the following:

• Patchbay assignments, including Direct Outs

• Hardware and software insert (plug-in) assignments and in/out state.

To store a channel as an Input Channel Preset:

1 Adjust parameters as needed.

2 Go to the Inputs or Outputs page.

3 Attention the channel whose settings you want to save or load.

4 Under the channel name, select the Presets Folder icon to open the Input Channel Presets window.

5 Choose a Presets folder from the Folder pop-up menu.

6 Select New, enter a name for the Preset, then select OK, or choose Cancel to exit the Presets folder without making changes.

For information about managing Presets files and folders, see

Working with Presets

Choosing a preset automatically loads the saved settings into the attentioned channel. Depending on the stored settings this may

dramatically change channel level and signal routing. Use caution when previewing Input Channel Presets with a live source.

Channel Presets icon in the Inputs page

See

Creating Preset Folders to create your own Presets folder so they show up in a Presets Folder pop-up menus.

Input Channel Presets window showing the Folder pop-up menu (top) and the New and OK buttons (bottom)

Overview, Inputs, and Outputs Pages 199

To preview and load a saved Channel Preset:

1 Navigate to the Inputs page for the desired channel. Channel Presets can only be loaded into a single channel at a time.

2 Select the Channel Presets icon to open the Presets window.

3 Choose a Presets folder from the Folder pop-up menu.

4 Do any of the following in the Presets window:

• To preview an existing preset, select its name in the Presets window so it is highlighted.

• To load the currently selected preset, select

OK.

• To load a preset and close the Presets window, double-tap the preset.

• To cancel without changing settings, choose

Cancel.

To rename, duplicate, overwrite or delete a Channel Preset:

 Touch-and-hold (right-click) the preset name in the Preset window, then choose Rename, Duplicate, Delete, or Overwrite.

Channel Compatibility and Input Channel Presets

The following describe how different types of channel data is handled when storing or loading Input Channel Presets:

Channel Names and Presets

New presets automatically inherit the current Input Channel Name, or you can give them a custom

name in the Presets window. The default channel number (such as “Ch 16") is used for the preset name if the channel has an empty

(null) name.

Loading Mono to Stereo

Mono settings are applied equally to the left and right channels of the stereo destination. The stereo des-

tination channel retains its current balance and width settings.

Loading Stereo to Mono

When loading a stereo preset into a mono Input Channel, the left channel settings in the stereo preset are

applied to the mono destination channel. The mono destination channel retains its current pan setting.

Groups

Group bus assignments are not applied if the settings in the preset do not match the current system Bus Configuration

Aux Sends

Aux send level or pan settings for individual Aux sends are not applied if the stored mono/stereo state does not match

the current mono/stereo state. For example, assume the stored preset has Aux 1–2 combined as a stereo channel, but the current sys-

tem configuration has these Auxes as individual mono Auxes. When the preset is recalled Aux 1 and Aux 2 will retain their current

settings (they will not be updated), while all other Auxes are updated to the preset settings.

Presets for Built-In Channel EQs, Graphic EQs, and Dynamics

You can save and load built-in channel EQ, GEQ, and Dynamics settings as Preset files. Preset files are stored in Preset Folders,

and can be moved between systems and used with other Show files. Each processor has its own Presets folder in which settings are

stored and from which they are loaded. GEQ settings can only be accessed from the Outputs page.

To save or load presets:

1 Adjust parameters as needed.

2 Go to the Inputs or Outputs page and attention the channel whose settings you want to save or load.

3 Depending on the processor settings you want to save, select the corresponding Presets folder icon to open the Presets window.

Dynamics Presets Folder icons (left) and the channel EQ Presets Folder icon (right)

Overview, Inputs, and Outputs Pages 200

4 Choose a Presets folder from the Folder pop-up menu.

5 Do any of the following in the Presets window:

• To save the current settings as a new preset, choose New and enter a name for the preset file. All processor settings are saved

to the preset.

• To preview an existing preset, select its name in the Presets window so it is highlighted.

• To load the currently selected preset, select

OK.

• To load a preset and close the Presets window, double-tap the preset.

• To cancel without changing settings, choose

Cancel.

To rename, duplicate, overwrite or delete a Preset:

 Touch-and-hold (right-click) the preset name in the Preset window, and then choose Rename, Duplicate, Delete, or Overwrite.

Assigning Channels to Buses and VCAs on the External Screen

You can assign channels to buses and VCAs on the external screen.

To assign channels to the Mains or Groups on the external screen:

1 Go to the Inputs or Outputs page, depending on the type of channels you want to assign.

2 Select the Inputs or Outputs tab.

3 Use the Input Channel Bank buttons or the Output Channel Type buttons to bank those channels to the fader strips.

4 Attention one or more channels.

5 In the Bus Assign section, do any of the following:

• To assign to Mains Left-Right, select the L-R button so it lights.

• To assign to the Center/Mono bus, select the C/Mono button so it lights.

• To assign to a Group, select Groups 1–x, as available, so they light. A group with a single yellow ring is mono, and interlock-

ing green rings is stereo.

You can create your own Presets folder from the Filing page, which then shows up in any Presets Folder pop-up menu. See

Cre-

ating Preset Folders

Check the Factory Presets folder for pre-configured settings, where available.

Input Channel Bank buttons (left) and Output Channel Type buttons (right)

Bus Assign section showing a channel assigned to Mains L-R, C/Mono, and Groups 1, 2, and 3

Overview, Inputs, and Outputs Pages 201

To assign channels to Aux buses on the external screen:

1 Go to the Inputs page.

2 Select the Inputs tab, then select the bank of input channels you want to access using the Input Channel Type buttons.

3 Attention an input channel.

4 In the Aux Sends section, select the thermometer-style indicator. When

the indicator lights, the send is on. The indicator lights in the color as-

signed to that Aux output.

5 To toggle an Aux Send pre-/post-fader, select the Aux Send number. When

set to pre-fader, a border appears around the Aux Send number.

Managing Output Channel Assignments (Members)

You can view, reset, clear and copy (duplicate) Mains, Aux, Group, Matrix, and VCA assignments (members) on the external

screen.

Viewing Output Assignments

When an output channel is targeted on-screen, its members are shown in the Members list on the right side of the Outputs page.

To view input assignments to an output:

1 Go to the Outputs page.

2 Select the Output Channel Type tab to show those channels on the screen.

3 Attention the desired output channel. Channels assigned to the attentioned output channel are displayed in the Members list on

the right side of the page.

To jump to any assigned input channel from the Outputs page:

 Select the name of the input channel in the Members list.

Removing and Resetting Assignments

You can remove input assignments from an output on-screen.

To remove one input assignment from an output:

1 Attention the output channel you want to change so that its members are displayed on-screen.

2 In the Members list, touch-and-hold (right-click) the input assignment you want to remove and choose Unassign.

Channel assignments shown in the Members list

Overview, Inputs, and Outputs Pages 202

To remove all input assignments:

1 Attention the output channel you want to change so that its members are displayed on-screen.

2 Select the pop-up menu at the top of the Members list (gear icon), and choose Reset Mix (for buses) or Clear All Members (for

VCAs).

Copying Assignments Between Outputs

You can copy the current input assignments from one output to another of the same type. This lets you quickly duplicate monitor

mixes.

To copy input assignments between buses:

1 Attention the output channel to which you want to copy assignments.

2 Select the pop-up menu at the top of the Members list (gear icon), choose Replace With Mix From, and then from the list choose

the bus whose assignments you want to copy to the currently attentioned bus.

Color-Coding Channels from the External Screen

You can color-code channels to help identify key channels or groups of channels faster on the Inputs or Outputs page.

To set a channel color on the external screen:

1 Touch-and-hold (right-click) a fader strip on-screen, or select multiple channels and right-click any of the multi-selected faders.

2 From the pop-up, select Set Channel Color and choose one of the available color options.

The color coding is reflected in the MTS channel tiles; on the CTM for the color-coded channels; on the Channel Color switch; on

the CKM encoders for Aux Sends, Matrix input controls, Group assignment controls, and Mains assignment control; and on the

fader strips and the Aux Sends section on the external screen.

Removing all input assignments from a bus

Copying Aux bus assignments overwrites all the assignments on the destination Aux bus.

Copying input assignments between Aux buses

You can also color-code channels from the MTS. See

Color-Coding Channel from the Universe View.

Filing 203

Filing

Data can be stored, recalled and transferred between VENUE systems, as well as VENUE Standalone software, using the Filing

page. There are three types of information files that can be managed separately, as follows:

Show Files

These files are used to store, recall and transfer system settings, snapshots, and events. (Snapshots and events can also

be imported from Show files.)

Preset Files

These files are used to store settings for input channels, built-in processors and plug-ins, User Layouts, Recall Safe

Scope Sets, and Events.

Console Setting Files

These files are used to transfer or back up the current state of the S6L system.

Creating Shows

A Show file contains all configuration, signal routing, mixer settings, plug-in information, snapshots, and other operational set-

tings. Shows are grouped together in Show Folders.

Show Folders

Show Folders contain Show files. You can create and manage Show Folders from the Save tab of the Filing page.

Creating Show Folders

To create a new Show Folder:

1 Go to the Filing page and select the Save tab.

2 In the Show Folders column, select the New button.

3 Type a name for the Show Folder and press Enter.

Duplicating Show Folders

To duplicate a Show Folders:

1 In the Show Folders column, select a Show folder so it is highlighted.

2 Select the Duplicate button.

The folder and all of the Show files it contains are duplicated.

The system does not need to be in Config mode to carry out many file management tasks. However, the system must be in Config

mode to load Shows. This minimizes the chance of an accidental interruption of audio throughput.

Show Folders and Show files in the Save tab of the Filing page

You can also touch-and hold (right-click)) any folders and file names in the Filing page columns and choose the relevant com-

mand from the pop-up.

Filing 204

Renaming Show Folders

To rename a Show Folder:

1 In the Show Folders column, select a Show folder so it is highlighted.

2 Select the Rename button.

3 Type a new name for the Show folder and press Enter.

Deleting Show Folders

When you delete a Show Folder, all Show files contained in that folder are also deleted.

To delete a Show Folder:

1 In the Show Folders column, select a Show folder so it is highlighted.

2 Select the Delete button.

Show Files

Creating a Show File

When you create a new Show file, it captures the current state of the system. Show files are automatically saved when they are cre-

ated.

To create a new Show file:

1 Go to Filing > Save.

2 In the Show Folders column, select the Show folder where you want to save the Show.

3 In the Shows column, select the New button. The new Show file captures the current state of the system.

4 Type a name for the Show file and press Enter.

5 Double-tap in the Notes field for the Show and type any comments you want to save with the Show.

Information about the Show file is shown in the Info area of the Filing page.

Overwriting (Updating) a Show File

You can also update an existing Show file by overwriting it.

To update (overwrite) an existing Show file:

 In the Shows column, touch-and-hold (right-click) the Show file name you want to

overwrite, and choose

Overwrite from the pop-up menu. The current state of the system

is saved to the selected Show file.

– or –

 Press the Over Write switch on the MLM.

Duplicating Show Files

To duplicate a Show file:

 In the Shows column, touch-and-hold (right-click) the Show file name you want to overwrite, and choose Duplicate from the

pop-up menu.

Show files are automatically saved when they are created; no further action is required to save them.

Filing 205

Renaming Show Files

To rename a Show file:

1 In the Shows column, select a Show file name so it is highlighted.

2 In the Shows column, select the Rename button, then type a new name for the Show file and press Enter.

Deleting Show Files

To delete a Show file:

1 In the Shows column, select a Show file name so it is highlighted.

2 In the Shows column, select the Delete button.

Loading a Show

You can load a Show file using the Load tab of the Filing page. Show files are stored locally on your system. Show files can be

stored on USB drives, but must first be transferred to the system before loading (see Transferring Settings, Shows and Presets).

The system must be in Config mode to load Shows.

To load a Show file:

1 Put the system into Config mode.

2 Go to the Filing page and select the Load tab.

3 In the Show Folders column, select a Show Folder name to select the folder. Any Show files in the folder are displayed in the

Shows column.

4 In the Shows column, select a Show file name so it is highlighted.

5 Select the Load button. The system loads the new Show file, replacing the current system configuration, routing, and control set-

tings with those contained in the new file.

System Configurations and Loading Shows

Show files include system configuration settings such as the type of control surface; the type of Engine and the number of HDX

Mix Engines; and Mains and Mix (Aux/Group) Bus configurations.

• If a Show file includes the same system configuration settings as the current configuration, the configuration information appears

in blue text in the Info area.

• If a Show file differs from the current configuration, but can be loaded on the system, the relevant configuration changes appear

in orange text in the Info area.

• If a Show file differs from the current configuration and cannot be loaded on the system in its entirety, the configuration infor-

mation appears in red text in the Info area.

• If a Show file includes active Event triggers that would not be activated when the Show is loaded due to the current state of the

control surface, a confirmation dialog appears letting you ignore those triggers or automatically activate them on Show load.

Loading a Show automatically replaces the current system settings, and may interrupt audio throughput.

Show Folders and Show files in the Load tab of the Filing page

Filing 206

Working with Presets

Preset files are used to store, recall and transfer factory or user-defined presets. Preset files are grouped in the following types of

Preset Folders:

Built-in

Channel EQ, 31-band Graphic EQ, Compressor/Limiter, Expander/Gate, and Input Channel Presets.

Plug-In

Plug-ins Settings Files.

Scope Set

Settings for Recall Safe and User Aux Scope configurations.

User Layout

Custom User Layouts.

Events

Event definitions

Preset Folders

Preset Folders contain Preset files. Each of the built-in processors and each plug-in has its own Factory Defaults folder containing

pre-defined Presets. A User Presets folder, for storing your Presets, is also provided.

You can create additional Preset Folders and store new Presets in them. These folders can then be transferred to a portable storage

device for transfer to other VENUE systems.

Creating Preset Folders

To create a new Preset Folder:

1 Go to the Filing page and select the Transfer tab.

2 In the center column, select Preset Folders. A list of Preset Folders appears in the left

column.

3 In the left column, select the New button.

4 Type a name for the Preset Folder and press Enter.

The new Preset Folder is available in the Preset window for each processor or plug-in.

Duplicating Preset Folders

To duplicate a Preset Folder:

1 In the left column, select a Preset Folder so it is highlighted.

2 Select the Duplicate button.

The folder and all of the Preset files it contains are duplicated.

Renaming Preset Folders

To rename a Preset Folder:

1 In the left column, select a Preset Folder name so it is highlighted.

2 Select the Rename button.

3 Type a new name for the Preset Folder and press Enter.

For information on saving, previewing and loading presets, see any of the following:

Input Channel, EQ, and Dynamics Pre-

sets, Plug-In Presets and Snapshots, Using Scope Sets, Working with User Layout Presets, or Events Presets.

You can also touch-and hold (right-click) any folders and filenames in the Filing

page columns and choose the relevant command from the pop-up.

You can also touch-and-hold (right-click) a Preset Folder name and choose Rename, or double-click a Preset Folder name to

rename the folder.

Preset Folder

Filing 207

Deleting Preset Folders

When you delete a Preset Folder, all Presets contained in that folder are also deleted.

To delete a Preset Folder:

1 In the left column, select a Preset Folder name to select it.

2 Select the Delete button.

Preset Files

You can manage Preset files from the Transfer tab of the Filing page. You cannot create Preset files from the Filing page. Preset

files are created from the Presets window of the channel, processor, or plug-in. Scope Sets are created using the Scope Sets window

of the Snapshots page Recall Safe tab. User Layouts are created from the User tab of the

Inputs or Outputs page, and Events Presets

from the Events Presets window of the Control > Events page.

Duplicating Presets

To duplicate a Preset file:

1 Go to the Filing page and select the Transfer tab.

2 Select any of the following:

•Select Built-In or Plug-In then choose a processor or plug-in from the pop-up menu. The available Preset Folders for the pro-

cessor or plug-in appear in a pop-up menu above the left column.

•Select

Scope Set to select Recall Safe (Scope Sets) or User Aux Scope presets to transfer.

•Select User Layout to select User Layouts to transfer.

•Select Events to select Event definitions to transfer.

3 In the left column, choose a Preset Folder from the pop-up menu.

Any Presets in the folder appear in the left column.

4 In the left column, select a Preset file name so it is highlighted.

5 Select the Duplicate button.

Built-In EQ in the Transfer tab of the Filing page

Filing 208

Renaming Presets

To rename a Preset file:

1 In the left column, select a Preset file name so it is highlighted.

2 Select the Rename button.

3 Type a new name for the Preset file and press Enter.

Deleting Presets

To delete a Preset file:

1 In the left column, select a Preset file name so it is highlighted.

2 Select the Delete button.

Transferring Settings, Shows and Presets

You can copy Console Settings, Shows, and Presets to and from a portable storage device (such as a USB flash drive) for backup,

transfer from standalone software, and transfer between systems.

Settings, Shows and Presets cannot be loaded onto the destination system directly from the portable storage device, but must first

be transferred to the system before loading. Transfer of Settings files, Show files, and Preset files is managed from the Transfer tab

of the Filing page. The left column shows files on the system. The right column shows the contents of the portable storage device

in the right column. Items are selected for transfer in the center.

To transfer Settings, Shows or Presets between your system and a portable storage device:

1 Go to the Filing page and select the Transfer tab.

2 Connect a portable storage device such as a USB flash drive to the S6L control surface. The device appears above the right col-

umn.

3 Do one of the following to select the type of data to transfer:

• To transfer all data, select Console.

• To transfer Console Settings, select Settings.

• To transfer Show Folders, select Show Folders.

• To transfer individual Shows, select Shows.

• To transfer Preset Folders, select Preset Folders.

• To transfer Presets for individual items, select Built-In or Plug-In and choose a built-in processor or plug-in, or Input Channel

from the pop-up menu.

• To transfer Scope Sets for Recall Safe or User Aux Scope, select

Scope Sets and then choose the desired type (Recall Safe

or User Aux Scope) from the pop-up menu.

• To transfer User Layouts, select User Layouts.

• To transfer Events, select Events.

Console Settings are equivalent to an auto-saved Show file, and store the current state of the system. By transferring Console

Settings, you can transfer the current state of the system without having to first create and name a Show file.

Selecting Recall Safe or User Aux Scope

Filing 209

4 Do one of the following to select the items to transfer:

• In the left column, select the items you want to transfer to the portable storage device.

– or –

• In the right column, select the items you want to transfer from the portable storage device to your system.

5 Select the Transfer button.

Large transfers may take time. Transfer status is shown by a progress bar. A transfer may be canceled by selecting Cancel.

Synchronizing Settings, Shows and Presets

Instead of transferring data in one direction between the VENUE system and a portable storage device, you can synchronize all data

in both columns of the Transfer tab in a single operation.

Synchronizing data causes new files to be copied and files with the same name but a more recent modification date/time to be au-

tomatically updated on both devices.

To synchronize Settings, Shows, or Presets between the VENUE system and a portable storage device:

1 Go to Filing > Transfer.

2 Connect a portable storage device (such as a USB flash drive) to a USB port on the S6L control surface. The device appears

above the right column.

To transfer Console and Console Settings from an external device to your system, first enable Config mode.

Preparing to transfer a Show file to a USB storage device

Canceled transfers may result in partial folder contents, which will have to be deleted manually.

When synchronizing data, the VENUE software replaces data files of the same name with the file that has the most recent

date/time. Check to be sure that the system clock times and time zones are correctly set on the system and on the computer run-

ning the Standalone software when preparing data for synchronization.

Filing 210

3 Do one of the following to select the type of data to synchronize:

• To synchronize all data, select the Console icon.

• To synchronize Console Settings, select the Settings icon.

• To synchronize Show Folders, select the Show Folders icon.

• To synchronize individual Shows, select the Show icon.

• To synchronize Preset Folders, select the Preset Folders icon.

• To synchronize Presets for individual items, select the Built-In icon or the Plug-In icon and choose a processor or plug-in from

the pop-up menu.

• To synchronize Scope Sets for Recall Safe, select

Scope Sets

• To synchronize User Layouts, select User Layouts.

4 From the pop-up menus above each column, choose the folders containing the elements you want to synchronize.

5 Select the Sync All button. The contents of the left and right columns are synchronized.

Import Snapshots and Events

You can import Snapshots and Events from available Show files using the Import features on the Filing page. Importing snapshots

or events adds the imported items to the corresponding list (unlike Events Presets which replace all items in the Events list).

To import snapshots or events:

1 Make sure the Show file containing the desired items is present on your system. If not, use the Transfer page to do so.

2 Go to the Filing page and select the Load or Save tab.

3 Select the Show folder that contains the Show file from which you want to import.

4 In the Shows column, select the Show file from which you want to import.

5 Touch the Import button and choose Import Snapshots or Import Events from the pop-up menu.

The right-click snapshots command Import that was available in previous versions of VENUE software for S6L is no longer in the

right-click menu. Use the Import button in the Filing page instead.

Import pop-up in Filing > Load

Filing 211

6 In the Import Snapshots or Import Events window, select one or more items so they are highlighted in the list.

When selecting snapshots:

• Selecting a Parent snapshot selects all its affiliated Child snapshots.

• Selecting a Child snapshot but not its Parent will result in the Child snapshot being redesignated as a Parent after it is imported.

• To deselect a selected snapshot, hold Ctrl and tap the snapshot you want to remove from the selection.

7 Tap the Import button.

The selected items are added to the Snapshots or Events list of the currently loaded Show and have an asterisk (*) added to the

end of their snapshot or event name.

Undoing Changes Using the History Feature

The VENUE system automatically saves the current state of the system while you are working, allowing you to quickly return the

system to a previous state.

The History feature uses Show files to capture the system state, and displays the files in the History tab.

Show Folders in the History tab

There are two Show Folders in the History tab:

 The Most Recent Changes folder includes all auto-saved Show files for a ten-hour period.

 The Previous Days folder includes only the last auto-saved Show file for each day since the system was last cleared.

Show Files in the History tab

The auto-saved Show files displayed in the History tab are named according to the date and time of their creation, and cannot be

renamed.

The Notes field for each auto-saved Show file includes a description of the conditions that caused the automatic save.

Several conditions cause the system to automatically save a new Show file in the History tab, as follows:

 In the course of normal work, a new Show file is automatically saved in the History tab approximately every ten minutes. Saves

are less frequent when the system is idle.

 A new Show file is automatically saved just prior to a significant change in the system setup, including:

Import Snapshots

Any single Show file can contain a maximum of 999 snapshots and up to 999 events.

Show Folders and Show files displayed in the History tab can only be loaded or deleted. They cannot be duplicated or renamed.

Filing 212

• Change of system channel or bus configuration

• Recall, storage, or modification of a Snapshot

• Loading of Console Settings or a Show

Loading an Auto-Saved Show

To return the system to an earlier state at any time, you can load any of the auto-saved Show files displayed in the History tab.

To load an auto-saved Show file:

1 Go to the Filing page and select the History tab.

2 In the Show Folders column, select the Show Folder name to select the folder and display its contents in the Shows column.

3 In the Shows column, select the name for the Show you want load.

4 Select the Load button.

The VENUE system loads the selected Show file, replacing the current system configuration, routing, and control settings with

those contained in the selected file.

The History tab of the Filing page

Snapshots 213

Snapshots

Snapshots let you flexibly store and recall a wide range of mixing parameters. Snapshots are commonly used to store the mixer

setup and levels for individual scenes, songs or sound cues in a performance. Snapshots store information about channels and mix

parameters, and you can use a variety of methods to edit, preview, filter, and manage snapshot data.

Snapshots are contained and stored as part of a Show file. A single Show file can contain up to 999 snapshots. Once stored, snap-

shots can be recalled manually or automatically (triggered by events or incoming time code). Snapshots are controlled from the

on-screen Snapshots page.

This section covers the following topics:

•

Snapshots Page Overview

• Creating Snapshots

• Hierarchical Snapshots (Parent and Child Snapshots)

• Momentary Snapshots

• Snapshot Groups

• Recalling Snapshots

• Managing Snapshots

• Making Changes to Snapshots

•Using Preview Mode

• Adding MIDI and Plug-In Data to Snapshots

• User Aux Scope

•Using Recall Safe

• Automation Safing Channels

Snapshots 214

Snapshots Page Overview

The Snapshots page provides controls for storing, recalling, and managing snapshots, providing a central location for setting up and

replaying automated performances.

Main, User Aux Scope, and Recall Safe Tabs

The Snapshots page provides Main, User Aux Scope, and Recall Safe tabs.

Main

Provides the primary snapshot controls.

User Aux

Provides a matrix of Auxes that can be scoped individually per input channel. See User Aux Scope.

Recall Safe

Provides a matrix of channel parameters that can be globally safed (or isolated) from Recall for all snapshots. See Re-

call Safe.

1 – Main, User Aux Scope, and Recall Safe Tabs

2 – Snapshots List

3 – Snapshot Command Buttons

4 – Snapshot Scope Controls

5 – Channel Scope Controls

6 – Currently Targeted Snapshot Display

7 –

Snapshot Crossfade Controls

8 – MIDI/Plug-Ins List

9 – Snapshot Notes

10 – Snapshot Status Display

Snapshots 215

Snapshots List

Snapshots can be targeted, renamed, recalled, previewed, edited, locked, reordered, duplicated, searched, and deleted from the

Snapshots list. You can also designate snapshot hierarchy (Parent/Child snapshots), create Momentary snapshots, and create snap-

shot Groups. Icons are provided showing the status of various snapshot attributes.

Snapshot Entries

By default, each item in the Snapshots list has a number (001–999) and name. Numbering will be different for Parent/Child snap-

shots, and Momentary snapshots, as follows:

• Child snapshots are automatically numbered corresponding to their Parent snapshot, with a decimal number (such as .1, and

.2). For example, for a Parent snapshot 001, its first associated Child snapshot is numbered 001.1.

• Momentary snapshots do not have a number.

Snapshot Entry Status Indication

Snapshot entries in the Snapshots list are highlighted in the following colors to indicate their statuses:

Green

Indicates the currently recalled snapshot.

Red

Indicates the currently targeted snapshot.

Yellow

Indicates that the snapshot is both the currently recalled and the currently targeted snapshot.

Blue

Indicates that the snapshot is part of a multi-selection but not the last recalled or currently targeted snapshot.

Snapshot Attribute Icons

To the right of each snapshot number and name are icons indicating the status of the available snapshot attributes. Icons can be

shown or hidden The following attributes have icons:

• Each snapshot provides a MIDI icon that lights if MIDI messages are included in the snapshot (See Adding MIDI Data to

Snapshots.)

• If either the MIDI Read or Generate feature is enabled, each snapshot shows a time code value, trigger indicator, or send in-

dicator. (See Snapshot Time Code Display.)

• If system Tempo has been enabled in Options > Misc, Tempo data can be shown for each snapshot instead of MIDI. Each

snapshot shows an associated tempo, along with a Tempo On/Off toggle icon. (See Adding Tempo Data to Snapshots.)

• On systems connected to a compatible Pro Tools system with VENUE Link enabled, a snapshot can be configured to create

a Marker in the Pro Tools recording when that snapshot is recalled. The diamond-shaped Markers icon toggles this feature

on/off for each snapshot. (For more information, see the S6L Live Recording Guide.pdf.)

• Each snapshot provides a Lock icon that toggles the snapshot between Locked (write-protected) and Unlocked. See Locking

Snapshots.

To show or hide snapshot attribute icons:

 Touch-and-hold any snapshot in the Snapshot list and select Show or Hide any of available attributes.

When snapshots are assigned to a Snapshot Group, the letter of the assigned Groups is also shown in the list. Group assignment is

always displayed and cannot be hidden.

Recall Buttons (Prev and Next)

The Recall Previous (–) and Recall Next (+) buttons at the top of the Snapshots list cause the previous or next snapshot in the list

to be targeted and recalled in one step.

Parent / Child

Designates one or more items as Parent or Child snapshots. See Hierarchical Snapshots (Parent and Child Snapshots).

Both MIDI and Tempo are available parameters at all times. However, the Snapshots list can only display one or the other at

a time.

Snapshots 216

Momentary / Sequential

Designates one or more items as Momentary snapshots. See Momentary Snapshots.

Group

Assigns or unassigns one or more selected snapshots to Snapshot Groups. See Snapshot Groups.

Chase MTC/LTC

Enables or suspends automated recall of snapshots when either the MTC/LTC Read or MTC Generate option is enabled.

Snapshot Keyboard Shortcuts

When the Snapshots page is displayed, you can perform the following snapshot functions with these keyboard shortcuts:

Selecting Snapshots

You can select single snapshots or multiple snapshots in order to target, recall, dupli-

cate, edit, lock, designate, group, or delete them in the snapshots list.

To select multiple consecutive snapshots:

 Hold the Shift key and select the snapshot names in the Snapshots list.

To clear a selection of multiple consecutive snapshots:

 Select any snapshot name in the Snapshots list.

– or –

 Rotate the encoder in the Snapshots section of the MLM.

To select or de-select non-consecutive snapshots:

 Hold the Ctrl key and select the snapshot names in the Snapshots list.

Snapshot Function Keyboard Shortcut

Target Next/Previous Snapshot Up/Down Arrow keys

Target First Snapshot in List Home key

Target Last Snapshot in List End key

Target Snapshot at Top of Page Page Up

Target Snapshot at Bottom of Page Page Down

Select Multiple Consecutive Snapshots Shift-select snapshots

Select Multiple Non-Consecutive Snapshots/Deselect any Snapshot Ctrl-select snapshots

Select All Snapshots Ctrl + A

Create New Snapshot Ctrl + N

Recall Targeted Snapshot Ctrl + R

Store Targeted Snapshot Ctrl + S

Undo Ctrl + U

Add or update MIDI/Plug-in data to snapshot Touch-and-hold MIDI/Plug-ins entry

Multiple items selected in the

Snapshots list

Snapshots 217

Snapshot Type Text Search

Type Text search lets you use the keyboard for fast navigation of the Snapshots list.

To search for and target a snapshot:

1 Go to the Snapshots page.

2 Type the number of the snapshot, or type the first letters of the snapshot name.

3 Press the Tab key on your keyboard to cycle through any snapshots that start with the same letter.

Centering the Snapshot List

The Options > Snapshots page provides a preference setting to always center the Snapshot list on the last recalled snapshot. This

setting lets you always view the snapshots immediately above and below (prior to and following) the last recalled snapshot. This

setting only affects the scroll position of items in the Snapshot list.

To center the Snapshot list on the last recalled snapshot:

 In the Snapshots General Preferences section of the Options > Snapshots page, select Center Last Recalled Snapshot.

In the Snapshot list, a blue pointer appears to the left of the center position.If a Momentary snapshot recalled, it is centered in

the list, but pressing Previous or Next recalls the snapshot above or below the previously recalled snapshot, respectively, not the

previous or next Momentary snapshot (if any). For more information, see

Momentary Snapshots.

Snapshot Command Buttons

Disable

Temporarily disables all snapshot functions.

Preview

An “offline” mode in which the system continues to process audio using its settings at the time Preview is invoked, letting

you recall, edit and manage snapshots without affecting the current mix.

Recall

Recalls the targeted snapshot, updating the system to reflect the status of all scoped data types and channels in the snapshot

(subject to the current Recall Safe settings). If the setting Confirm Snapshot Recall is enabled in the Options > Snapshots page, a

confirmation dialog appears requiring you to confirm that you want to recall the snapshot.

Store

Stores the current state of the system in the targeted snapshot for all data types and channels, overwriting any existing data

in the snapshot.

Update

Lets you apply isolated changes to one or more snapshots at once (such as updating a channel EQ across all snapshots).

Edit

Enables Edit mode. Lets you adjust parameters freely and apply those changes to one or more snapshots. Changes can be ap-

plied in Absolute or Relative fashion.

Undo

Returns the system to its state before the last snapshot command.

New

Creates a new snapshot that captures the current state of all data types and channels.

Duplicate

Creates a copy of the selected snapshots.

Clear

Clears the contents of the targeted snapshot, but retains any associated MTC information.

Delete

Deletes the targeted snapshots.

Snapshot list with Center Last Recalled Snapshot enabled

Snapshots 218

Snapshot Scope Controls

When you create a snapshot, it captures the current state of all system settings. However, you can select which of these settings you

want to be recalled when you recall a particular snapshot.

The selection of data types and channels that are recalled when you recall a snapshot is referred to as the scope of a snapshot. The

Snapshot Data Type buttons and on-screen faders determine (and display) the data types are recalled for which channels.

The Recall Safe tab provides global control of automation safe status for parameters on individual channels. The User Aux Scope

tab lets you specify scope for individual Auxes on a per-Input channel basis.

Scope States

Scoped

Red display indicates that the data type or channel is currently scoped and will be affected by snapshot recall.

Not Scoped

Gray display indicates that the data type or channel is not currently scoped and will not be affected by snapshot recall.

Data Type Scope Buttons

The Snapshot Data Type Scope buttons display scope status for the corresponding types of

controls on the control surface. See Table 5 on page 261 for a complete list.

Data Type Scope Action Buttons

All

Turns on the scope for all data types at once. This is equivalent to selecting all of the Data

Type buttons so they are lit red.

None

Turns off the scope for all data types at once. This is equivalent to deselecting all of the

Data Type buttons so they are unlit.

Channel Scope Controls

Channels are included or excluded from snapshots by selecting them on-screen in the Snapshot Channel Faders display. The Snap-

shot faders display the scope status of each channel, along with indication of the fader positions and mute states that will result by

recalling the targeted snapshot.

By default, you cannot adjust fader position, Solo, Mute, and Safe status directly from the Channel Scope controls. You can choose

to enable this ability by enabling the

Enable Strip Control on Snapshots Tab setting.

For a list of parameters associated with each Data Type, see Snapshot Data Types

and Parameters.

Snapshot channel fader display showing different scope states

Channels

currently scoped

Channels not

currently scoped

(lit, red)

(unlit, gray)

Snapshots 219

Channel Fader Position

When you target a snapshot with scoped channels that have different fader positions from the current fader positions, the target

fader positions are shown in bright red.

Channel Mute State

When you target a snapshot with scoped channels that have different mute states from the current mute states, the target mute but-

tons are outlined in yellow.

Channel Scope Action Buttons

All

Turns on the scope for all channels displayed on the current tab (such as 1–64). Double-tapping the All button turns on the scope

for all channels on the system.

None

Selecting the None button turns off the scope for all channels on the current page. Double-tapping the None button turns off

the scope for all channels on the system.

Snapshot channel fader display showing target fader positions

Snapshot channel fader display showing target mute states

Though the currently selected channel is displayed in the Snapshots page, keep in mind that you cannot target a different chan-

nel from this page. The currently selected (target) channel is indicated for visual reference only. To select and target a different

channel, use the channel Select switches or the Channel Scroll buttons.

Channel Scope Action Buttons

Snapshots 220

Snapshot Status Display

The Snapshot Status display shows the numbers and abbreviated names of the currently targeted snapshot (in red text) above the

currently recalled snapshot (in green or yellow). Recalling the targeted snapshot makes it the currently recalled snapshot.

Creating Snapshots

Snapshots can be created at any time to store the current channel and parameter settings. You can create new snapshots manually

in the Snapshots page, or by duplicating existing snapshots to build your mix as you work.

Creating New Snapshots

When you create a snapshot, it captures the current state of all system settings. When recalling a snapshot, you can selectively recall

parameters using the snapshot scope controls.

To create a new snapshot:

1 Set parameters as you want them to be stored in the snapshot.

2 Select New. The new snapshot appears in the Snapshots list.

Naming Snapshots

New snapshots are automatically numbered and appear as “<Untitled>” in the Snapshots list. Snapshots can be renamed at any

time. You can undo snapshot naming operations.

To name a snapshot:

1 Do one of the following:

• Double-tap the snapshot name in the Snapshots list or the current target name display.

• Touch-and-hold the snapshot name and choose

Rename.

2 Type a name for the snapshot.

3 Press Enter on the keyboard or select another snapshot name.

Adding Notes to Snapshots

You can add notes to snapshots at any time. You do not need to store the snapshot to save the notes in the snapshot.

To add or edit comments for a snapshot:

1 Double-select the Notes header or select the Expand icon to expand the Notes field.

2 Double-select in the Notes field and enter text.

Next Snapshot (top) and Last Recalled snapshot (bottom) in the Status area

Use the first snapshot in a Show file to establish the basic settings for a performance. For subsequent snapshots, use the scope

controls, User Aux Scope, and Recall Safe settings to selectively recall only those controls that need to change between sections

or songs, leaving other controls unaffected by snapshot recall.

You can undo the New snapshot command at any time by pressing the Undo Snapshot Command button.

When you create a new snapshot it automatically inherits the channel and data type scope of the currently targeted snapshot.

MIDI and plug-in data is not captured when a snapshot is created. This data is added to existing snapshots directly from the

MIDI/Plug-Ins lists. See

Adding MIDI and Plug-In Data to Snapshots.

Snapshots 221

Hierarchical Snapshots (Parent and Child Snapshots)

The Snapshots List lets you organize snapshots into a two-level hierarchy consisting

of Parent (primary) and Child (secondary) snapshots. The ability to designate Parent

and Child snapshots makes it easier to manage multiple snapshots associated with a

scene, song, or other segment of a performance.

Up to 99 Child snapshots can be associated with a single Parent snapshot. Child snap-

shots are automatically numbered corresponding to their Parent snapshot, with a dec-

imal number (such as .

1, and .2). For example, for a Parent snapshot 001, its first as-

sociated Child snapshot is numbered 001.1. Parent snapshot numbers are unaffected

by adding or removing Child snapshots.

You can optimize how hierarchical snapshots are displayed in the list by

Collapsing and Expanding Parent/Child Views. The

Snapshot List also provides tools for Managing and Editing Hierarchical Snapshots.

Designating Snapshots as Parent or Child

You can designate snapshots as Parent or Child snapshots in the following ways:

• By selecting one or more snapshots and using the Parent/Child button on-screen in the Snapshots tab

• Using drag and drop in the Snapshots list

• By editing the Snapshot Number

To designate snapshots as Parent or Child snapshots in the Snapshot List:

1 Click to select one or more snapshots in the list.

Above the Snapshot List, the Parent/Child button displays Child or Parent depending on what is selected in the Snapshots List:

• When one or more unaffiliated or Parent snapshots are selected, the button becomes Child.

• When one or more Child snapshots are selected, the button becomes Parent.

• When both Parent and Child snapshots are selected, or if no snapshots are selected, the button is unavailable.

2 Click the Parent/Child button on-screen, as appropriate for the selected snapshot.

The selected snapshots are designated as Parent or Child. Parent snapshots show an Expand/Collapse icon next to their number.

Multiple unaffiliated snapshots 002–006 selected in the Snapshot List

Child snapshots 001.1–001.5 associated with a Parent snapshot 001

Parent

Child

Parent

Child

Snapshots 222

To designate a snapshot as a Child snapshot using drag and drop:

1 Make sure there is at least one Parent snapshot in the list, with at least one Child snapshot associated with it.

2 In the Snapshot list, drag the desired snapshot onto a Parent snapshot (indicated by the destination Parent becoming outlined in

white), then drop the new snapshot.

The snapshot is moved, designated as a Child snapshot, and renumbered. While using drag and drop, the following rules apply:

• Dropping a Parent snapshot onto an existing Parent designates it as a Child snapshot. If the moved Parent has any associated

Child snapshots, the moved Parent and all its associated Child snapshots are moved and renumbered.

• You cannot drop a Child snapshot onto an existing Child snapshot.

• When a Child snapshot is dragged and dropped outside of its Parent, it becomes a standard (unaffiliated) snapshot.

Snapshots can also be designated as Parent or Child by editing their Snapshot number.

To designate Parent or Child snapshots by editing Snapshot number:

1 Double-click the displayed Snapshot number (such as 001).

2 To designate a Child snapshot, enter a number-decimal-number (such as 15.1) and press Enter.

• If the first numbers correspond to an existing Parent snapshot, the edited snapshot becomes a Child associated with that Par-

ent. For example, if there is a Parent snapshot numbered 015 and you edit a different snapshot number to 15.1, that edited

snapshot becomes a Child (015.1) to the Parent 015.

• If that same Parent snapshot (015) has two Child snapshots 015.1 and 015.2, editing an unaffiliated snapshot number (such as

018) to become 15.2 places the edited snapshot as the second Child, and renumbers the previously numbered 015.2 snapshot

to 015.3. Any other higher numbered Child snapshots are similarly incremented.

• If the edited snapshot number is higher than any existing Parent snapshot, the edited snapshot becomes a Child of the highest

numbered Parent in the list. For example, if there are five Parent snapshots 001–005, editing the Snapshot number of one snap-

shot to become 8.1 results in the edited snapshot becoming snapshot 005.1 (a Child of the highest numbered Parent, 005).

Designating a Child snapshot by dragging and dropping a snapshot (025) onto a Parent (022)

Snapshots 223

Collapsing and Expanding Parent/Child Views

Parent/Child snapshot views can be expanded or collapsed in the Snapshot List. When expanded, all Child snapshots associated

with a Parent are displayed in the list. When collapsed, only the Parent snapshot is displayed.

Collapsing Snapshot families make the Snapshots List easier to manage when selecting and rearranging snapshots, such as when

reordering a song, song list, or scenes for a performance.

Views can be expanded and collapsed manually, and will auto-expand/collapse when moving, designating, and recalling snapshots.

Manually Collapsing and Expanding Parent/Child Views

To collapse or expand a Parent and its associated Child snapshots:

1 Select a Parent in the Snapshot List.

2 Tap to toggle the Expand/Collapse icon to the left of the Snapshot number.

Automatic Collapse and Expand

Parent/Child views automatically expand or collapse when the following occur:

• Collapsed snapshot views automatically expand when a collapsed Child snapshot is recalled, and whenever a Child snapshot

is added to or removed from that family of snapshots.

• Recalling a Child snapshot associated with a different Parent automatically collapses the auto-expanded snapshot view (the

Parent of the newly recalled Child is automatically expanded).

• Collapsed Parent snapshots are highlighted whenever any associated Child snapshot is selected.

• When a Child snapshot in an expanded view is selected, collapsing that view deselects the Child. If the previously selected

Child was also the Target snapshot when the view was collapsed, its Parent becomes Targeted and selected.

Managing and Editing Hierarchical Snapshots

You can rearrange, update, edit, delete, and duplicate hierarchical snapshots similar to standard snapshots but with additional ca-

pabilities and choices to simplify list management tasks.

Rearranging Parent and Child Snapshots

Rearranging Parent snapshots in the list automatically updates their snapshot numbers just like standard snapshots. All associated

Child snapshots move with the Parent, and Child snapshot numbers are also updated. For example, moving a Parent snapshot 001

so it becomes the second Parent renumbers that Parent to 002, and its Child snapshots are renumbered 002.1, 002.2 and so on.

Child snapshots can be rearranged by dragging them up or down among other Child snapshots associated with the same Parent, and

their numbering is automatically updated. Child snapshots can be renamed just like standard snapshots.

When rearranging Parent or Child snapshots, views automatically expand or collapse (see

Automatic Collapse and Expand).

Editing Parent and Child Snapshots

When updating, storing, deleting, or duplicating a Parent snapshot you can choose whether to update the selected snapshot only

(

Selected Only), or to apply the change to all associated (Child) snapshots (All).

Expand/Collapse icon shown when expanded (at left) and collapsed (at right)

Snapshots 224

Momentary Snapshots

You can designate one or more snapshots as Momentary snapshots. Momentary snapshots are non-sequential, and have no associ-

ated snapshot number. Recalling Momentary snapshots does not change the Currently Recalled or Targeted state of the list.

Use Momentary snapshots for any situation in which you need to recall one or more parameters without losing your current place

in the Snapshot List. For example, if a vocal mic goes out during a performance you can recall a Momentary snapshot that only

changes the patching for the vocal channel to the input of a spare/backup mic. The Snapshot List remains unchanged.

Creating Momentary Snapshots

To create a Momentary snapshot:

1 Create a new snapshot, or select an existing Parent snapshot in the list (Child snapshots cannot become Momentary snapshots).

2 Tap the Momentary button above the Snapshot List.

The snapshot is moved to the end of the Snapshot list, and is not numbered. To convert the Momentary snapshot back to a stan-

dard snapshot, select the Momentary snapshot (the Momentary button becomes Sequential) and tap the Sequential button.

Recalling Momentary Snapshots

Momentary snapshots can be recalled manually by selecting them in the Snapshot List.

To recall a Momentary snapshot manually in the Snapshot list:

 Select and recall the snapshot just as you would for a standard snapshot:

• Scroll the list or use Type Text Search to select the desired snapshot.

• Press

Recall.

• Define an Event that recalls the snapshot.

In the Snapshot List the recalled Momentary snapshot lights red, and the previously recalled snapshot lights green. If the Center

Last Recalled Snapshot option is enabled in Options > Snapshots, the Momentary snapshot is centered in the list. Pressing Pre-

vious or Next recalls the snapshot above or below the previously recalled snapshot in the list, respectively.

Editing Momentary Snapshots

Momentary Snapshots can be selected, renamed, Stored, Updated, and Edited just like standard snapshots. In addition:

• Momentary snapshots can be reordered in the list by dragging and dropping them between other Momentary snapshots.

• Moving a Momentary snapshot and dropping it between standard snapshots converts it into a standard (sequential) snapshot

with an appropriate snapshot number.

• Moving a Momentary snapshot onto an existing Parent or between Child snapshots converts it into a Child snapshot with an

appropriate snapshot number.

Momentary Snapshots do not support Parent or Child designation, but can be assigned to

Snapshot Groups.

Momentary button

Momentary snapshots in the list

Momentary snapshots can also be recalled via time code.

Snapshots 225

Snapshot Groups

You can organize snapshots into Snapshot Groups, to be able to quickly update multiple snapshots simultaneously. A Snapshot

Group can contain one or more snapshots, and snapshots can be assigned to multiple groups.

For example, in a theatrical production you might want to create a Snapshot Group for all cues that include a specific character, and

another group for when that character is wearing a hat or a mask. If you decide you want to use a different EQ setting on a character

mic, you can adjust the EQ in one of the corresponding snapshots. When you Store the change (to update the single snapshot) you

can choose to apply the change to all other snapshots in the group (without having to manually select the other snapshots).

Or in a music performance, you might create a Snapshot Group for all songs where the drummer sings lead. By grouping all the

snapshots for songs when the drummer sings you can increase the level of the lead vocal in one of those snapshots, then choose to

apply the level increase to all snapshots in the same Snapshot Group.

Assigning Snapshots to Groups

To assign snapshots to a snapshot group:

1 Select one or more snapshots in the list, and make sure none of them are locked (you cannot assign locked snapshots to a Snap-

shot Group).

2 Tap the Group selector located just above the list.

The Group selector shows a hierarchical menu. Each top-level choice (Groups A–Z >, Groups AA–ZZ >, Groups BA–BZ > and

so on) provides its own sub-menu of choices (Group: A–Z, Group: AB–AZ, Group: BA–BZ, and so on).

3 Choose a Group to which you want to assign the currently selected snapshots.

The chosen Group (such as A) appears in the list for the selected snapshot(s). (The location of the Group indicator varies de-

pending on the display status of other snapshot attributes such as time code or markers.)

To remove a group assignment:

1 Select the snapshot(s) you want removed from the group.

2 Tap the Group selector and deselect the group from the appropriate sub-menu.

Editing Grouped Snapshots

When you Store, Update, or Edit a snapshot that is assigned to a Snapshot Group you can choose to apply the edit(s) to only the

selected snapshot (Selected Only) or to all other snapshots in the same Snapshot Group(s) (All).

Snapshot List showing three snapshots assigned to Group A

Snapshots 226

Recalling Snapshots

To recall a snapshot, you target the snapshot, scope channels and parameters that are recalled when you recall the snapshot, then

recall the snapshot.

Targeting Snapshots

Targeting a snapshot lets you preview which data types and channels will be affected by that snapshot before recalling it. When a

snapshot is targeted, the on-screen Data Type buttons and Channel Faders update to show the data types and channels enabled for

recall by the snapshot.

To target a snapshot, do any of the following:

 Rotate the encoder in the Snapshots section of the MLM so the targeted snapshot is shown in the Snapshot display.

 On the Snapshot page of the external screen, select the snapshot name in the Snapshot list.

 Type the number or name of the snapshot on the keyboard.

 Press the Home/End, Page Up/Page Down, and Up/Down Arrow keys on the keyboard to navigate the Snapshot list.

The targeted snapshot is shown in the Snapshot display on the MLM, highlighted in red in the external screen Snapshots list, and

shown in red in the external screen Status display.

You can also target and recall snapshots using the

Snapshot Controls on the MLM.

Preview mode lets you take the system controls offline to recall and edit snapshots without affecting the current mix. See

Pre-

view Mode.

Snapshots section of the MLM

VENUE | S6L

Recall

Store

Preview

001/011

reset all inputs

S1Cu2

001 3

P:S1C1

N:S1C3

S1Cu3

S1Cu2

Snapshots 227

Scoping Channels and Parameters

When you create a snapshot, it captures the current state of all system settings. When recalling a snapshot, you can scope the chan-

nels you want affected (using the Channel Scope controls), and the parameters that are recalled (using the Data Type Scope but-

tons).

To scope channels for recall:

1 On the Snapshots page of the external screen, select the individual fader strips so that they are displayed in red.

2 To select channels in banks of eight, select the channel numbers at the bottom of the on-screen fader strips so the channels.

3 To select all channels, select the ALL Channel Scope Action button.

4 To clear all channels from the scope, select the NONE Channel Scope Action button.

5 The fader strips for scoped channels are highlighted in red.

You can rescope snapshot data at any time. You do not need to store/overwrite a snapshot if you change the scope of a snapshot.

A bank of eight channels scoped for snapshot recall

ALL and NONE Channel Scope Action buttons

Snapshots 228

To scope parameters for recall:

1 For each parameter of the scoped channels you want affected when the snapshot is later recalled, select the corresponding Data

Type button so that it is scoped (displayed in red).

2 To scope all parameters, select the ALL button.

3 To clear all data types from the scope, select the NONE button.

Recalling Snapshots

You can do the following when recalling snapshots:

• Target and instantly recall successive snapshots (next or previous)

• Target first, then recall one or more snapshots

• Select multiple snapshots and recall them all sequentially

• Target snapshots, change Data Type or Channel Scope settings, then recall.

Confirm Snapshot Recall

When the Confirm Snapshot Recall setting is enabled in the Options > Snapshots tab, a warning dialog appears asking to con-

firm the operation.

Layouts included in the scope of a snapshot

ALL/NONE Data Type Scope buttons

When you create a new snapshot it automatically inherits the channel and data type scope of the currently targeted snapshot.

Undoing snapshot recall commands might cause audio to be interrupted. Use Undo with caution in performance.

Snapshots 229

Recalling Successive Snapshots Instantly

You can instantly recall successive snapshots in the Snapshots list using the S6L control surface or the external screen. This com-

mand references the currently recalled snapshot, not the targeted snapshot.

To instantly recall successive snapshots using the control surface:

 On the MLM, press the PREV or NEXT switch, under the Right Soft Keys. The switches are lit when a next and/or previous

snapshot is available to recall.

To instantly recall successive snapshots on the external screen:

 Select the PREV or NEXT button at the top of the Snapshots list.

Targeting Before Recalling Snapshots

You can target then recall a snapshot using the S6L control surface or the external screen.

To target and then recall a snapshot using the control surface:

1 Rotate the encoder in the Snapshots section of the MLM so the targeted snapshot is shown in the Snapshot display.

2 (Optional) Set the scope of the snapshot.

3 Press the lit Recall switch.

To target and then recall a snapshot using the external screen:

1 Select the snapshot name in the Snapshot list.

2 (Optional) Set the scope of the snapshot.

3 Select the Recall button on-screen.

Prev/Next Snapshot switches

The Snapshot Recall buttons combine target and recall actions in one step, causing the previous or next snapshot to be instantly

active. These buttons cannot be used to preview snapshots before recalling them.

Snapshots section of the MLM

Snapshot Recall can also be triggered by a footswitch or any number of other functions using events. For more information, see

Events.

Mute Group 5

Mute Group 6

VENUE | S6L

Home Config

Recall

Store

SNAPSHOTS

Talk

Back

Over

Write

Preview

001/011

reset all inputs

S1Cu2

001 3

P:S1C1

N:S1C3

S1Cu3

S1Cu2

VENUE | S6L

Home Config

Recall

Store

SNAPSHOTS

Talk

Back

Over

Write

Preview

001/011

reset all inputs

S1Cu2

001 3

P:S1C1

N:S1C3

S1Cu3

S1Cu2

Snapshots 230

Managing Snapshots

You can manage snapshots in the list by storing, locking, clearing, duplicating, deleting, or moving them. When any of these ac-

tions are performed while multiple snapshots are selected, on a Parent snapshot, or on a snapshot that is a member of a Snapshot

Group, you can choose to apply the action to only the selected snapshot or all related snapshots.

Storing Snapshots

You can modify the contents of an existing snapshot, overwriting it with new settings, using the Store command. It is not necessary

to recall a snapshot to store it. You can undo Store commands.

To store the current state of the system in an existing snapshot:

1 Set all parameters as you want them to be stored in the snapshot.

2 Select the snapshot in the Snapshot list.

3 Select the Store button on-screen.

4 Set the scope by doing the following:

• For each parameter you want to be affected when the snapshot is recalled, select the corresponding Data Type button so that

it is scoped (displayed in red).

• For each channel you want affected when the snapshot is recalled, select its on-screen channel fader so that it is scoped (dis-

played in red).

Locking Snapshots

Snapshots can be locked to prevent them from being accidentally altered, overwritten or deleted. Locked snapshots can be selected,

recalled, moved and duplicated. They cannot be overwritten, renamed, rescoped or otherwise changed. New and duplicated snap-

shots default to unlocked. Lock status can be changed at any time, including while in Preview mode.

To lock a snapshot:

1 Go to the Snapshots page and select the Main tab.

2 In the Snapshot list, select the padlock icon at the far right of the row for any item. The padlock icon illuminates to indicate the

snapshot is now locked.

3 Select multiple snapshots using Multi-Select or the Shift key to lock or unlock multiple snapshots at once.

Once locked, operations that would otherwise affect the snapshot cause the Status display and channel LCDs and Snapshot LCD

to temporarily show a message reminding you that the operation cannot be applied while the snapshot is locked.

To unlock a snapshot:

 Select the lit padlock icon in the row for that snapshot.

Undo and Locked Snapshots

You can undo locking or unlocking a snapshot. When toggling lock status for a selection of more than one snapshot, the entire op-

eration creates a single undo point (it does not track and provide undo for each individual snapshot in the selection).

Snapshot lock controls

Undo can revert snapshots to “unlocked” status. For example, if you change the scope of an unlocked snapshot, lock the snap-

shot and then use Undo, the snapshot is unlocked. Pressing Undo one more time will revert the snapshot to its original scope.

Snapshots 231

Locking Snapshots and MIDI Record

When using the MIDI Record feature, all MIDI data captured up to the point a snapshot is locked is preserved. If the MIDI Record

operation is still active at the time the snapshot is locked, record mode is exited, the REC button becomes unavailable for that snap-

shot, and subsequent incoming MIDI messages are not captured.

Available Operations with Locked Snapshots

The following table details which operations can or can not be performed on a locked snapshot.

Operation Allowed while Locked Disallowed while locked

Select/target snapshot X

Recall snapshot X

Duplicate snapshot X

Re-sequence in snapshot list by:

• Dragging in snapshot list

• Manually editing sequence number

• Re-sorting by time code

Overwrite (Store to locked snapshot) X

Update changes X

Parent/Child (designate) X

Momentary/Sequential (designate) X

Group (assign or unassign) X

Apply Edit mode changes X

Clear X

Delete X

Modify Scope X

Modify User Aux Scope X

Add/Modify stored MIDI data X

Add/Modify stored Plug-In data X

Add/Modify stored Media date X

Modify Notes X

Modify X-Fade time X

Modify Snapshot Name X

Modify Time Code Location X

Toggle Time Code Enable X

Undo changes X

Snapshots 232

Clearing Snapshots

The contents of a snapshot can be cleared while keeping the snapshot in the Snapshot list and retaining its MTC information. This

lets you maintain a placeholder that you can use later to store new data. You can undo Clear commands.

To clear the contents of a snapshot:

1 Select the snapshots you want to clear.

2 Select the Clear Snapshot Command button.

3 In the dialog box, select Clear to confirm. Cleared snapshots are renamed “<Untitled>.”

Duplicating Snapshots

Snapshots can be duplicated from the Snapshots list. You can undo Duplicate commands.

To duplicate snapshots:

1 Select the snapshots you want to duplicate.

2 Do one of the following:

•Select Dup (Duplicate).

– or –

• Touch-and-hold the snapshot name and choose Duplicate.

A copy of each selected snapshot is placed after the selection, with a plus sign (+) appended to the original snapshot name.

If multiple snapshots are selected in the list, the new (duplicate) items are added below their original source snapshots.

Deleting Snapshots

Snapshots can be deleted from the Snapshots list. You can undo Delete commands.

To delete snapshots:

1 Select the snapshots you want to delete.

2 Do one of the following:

•Select Del (Delete).

– or –

• Touch-and-hold the snapshot name and choose Delete. The snapshots are removed from the Snapshots list, and succeeding

snapshots are renumbered.

Moving Snapshots

Existing snapshots can be rearranged in the Snapshots list. When you move one or more snapshots, they are automatically renum-

bered in the list, but MTC values are left unchanged. You can undo a snapshot move.

To move one or more snapshots:

1 Select one or more events in the Snapshots list.

2 Touch any selected snapshots and drag them to a new location in the list. As you move items, a white line appears indicating the

destination.

3 Release your finger to drop the snapshots at the desired location in the list. Snapshots that are moved will be adjacent regardless

of their original locations relative to each other (whether adjacent or non-adjacent). Snapshots will be renumbered as necessary

according to the new sequence of events.

Snapshots 233

Importing Snapshots

Snapshots from other Show files can be imported into the currently loaded Show file in the Filing > Load/Save tabs.

For more information, see

Import Snapshots and Events.

Making Changes to Snapshots

There may be situations where you need to change specific parameters in existing snapshots while leaving other parameters un-

changed.

For example, if a guitarist changes instruments in the middle of a tour it might be necessary to change levels and EQ on the guitar

channel in all the snapshots in a show. Snapshots provides the following modes to accommodate these types of situations:

Edit Mode

Lets you capture individual control changes while you mix, and apply those changes to one or more pre-existing snap-

shots as absolute or relative changes. For example, you could enter Edit mode the first time a guitarist uses a new guitar in rehearsal.

When you are satisfied with your settings you can apply them (in absolute or relative fashion) to update other snapshots. See Using

Edit Mode.

Update Mode

Lets you update data in pre-existing snapshots after you've already made changes and decided you want to keep

them. While Edit mode requires you to know ahead of time that you will be updating snapshots, Update mode lets you decide to

update other snapshots with current settings after making adjustments to your mix. For example, if its the third consecutive night

you’ve reached to increase gain on the DI channel for a new guitar, you could use Update mode to quickly take the gain increase

you just made and apply it to other snapshots. See

Using Update Mode.

Using Edit Mode

Edit mode is a powerful way to update specific parameters across multiple snapshots without overwriting any settings you want to

preserve. By entering Edit mode before making adjustments, you can edit a single control or any number of controls, and your

changes are tracked from the point Edit mode was entered.

Absolute and Relative Edits

Changes can be applied to one or more selected snapshots as absolute or relative values. Any parameter can be edited in absolute

fashion; all dB parameters can be edited in relative fashion.

Examples of Absolute and Relative Edits

Absolute

Changing a fader level from 0 dB to –3 dB and applying that change as Absolute results in that fader being set identically

to –3 dB in all selected snapshots.

Relative

Changing a fader level from 0 to –3 dB and applying that change as Relative results in that fader being reduced by that

amount in all selected snapshots, or 3 dB relative to the value previously stored in the snapshot(s). For example, a channel previ-

ously at –6 dB would be changed to –9 dB.

Making Relative Changes with Mixed Data Types

If a combination of dB and non-dB parameters (such as gain and EQ frequency) are edited and applied in relative fashion, the dB

parameters are adjusted as relative (delta) changes and the non-dB are applied as absolute changes.

In VENUE software versions 5.6 and lower, Import Snapshots was available via right-click. Beginning in VENUE software

version 5.7, use the Import button instead.

Events-driven recall of snapshots is disabled while in Edit or Update mode. For more information, see

Events.

The ability to edit a single control in Edit mode provides more selectivity than Update mode.

Snapshots 234

To update specific parameters in existing snapshots using Edit mode:

1 Go to the Snapshots page and select the Main tab.

2 Select the Edit button to enter Edit mode. The Edit button changes into two smaller flashing buttons: Abs, and Rel. The system

begins tracking all changes while you make them.

3 Adjust any combination of scopable parameters.

4 Select the snapshot(s) to which you want to apply your edits.

5 Select either of the flashing buttons Abs (for Absolute) or Rel (for Relative). You can cancel Edit mode by pressing the Cancel

switch on the control surface, selecting the Cancel button on-screen, or by pressing the ESC key on your computer keyboard.

The selected snapshots are updated according to your changes and your choice of Absolute or Relative edit.

Using Update Mode

You can use the Update command to capture changes and apply them to existing snapshots. Update mode is most useful when you

realize during the course of mixing that you want to capture your current settings to use in other snapshots. You can undo Update

commands.

To update specific parameters in existing snapshots:

1 Make sure the channel is set as needed.

2 Select Update. The current data and channel scope is cleared.

3 Set the scope to reflect only those parameters you want to update by doing the following:

• For each parameter you want to update, select the corresponding Data Type button so that it is scoped (displayed in red).

– and –

• For each channel you want to update, select the channel so that it is scoped (displayed in red).

4 Select the snapshot or range of snapshots you want to update in the Snapshots list.

5 Select Update. The scoped parameters are updated in the selected snapshots.

Absolute (ABS) Relative (REL) Edit mode buttons

Updating an EQ setting for a channel

Snapshots 235

Undoing Snapshot Commands

The Undo function returns the system to the state immediately before the last snapshot command. Undo is multi-level (up to 100),

is available while in Preview mode and after performing an Edit or Update mode action.

To undo a snapshot command:

 Select the Undo button in the Snapshot commands section.

Disabling Snapshots

You can temporarily disable the storage and recall of all snapshots. While snapshots are globally disabled, you can target snapshots

in the Snapshots list to preview their properties, but you cannot recall them.

To disable all snapshots:

 Select the Disable button in the Snapshot commands section.

Suspend MTC Recall

To disable MTC or LTC recall of individual snapshots in the list:

1 Select the green Enable icon in the row for the desired snapshot so that it is unlit.

2 Select the Disable/Enable icon again to re-enable the snapshot.

Undoing snapshot recall commands may cause audio to be interrupted. Use Undo with caution in performance.

If the Undo button is dimmed, Undo is not available.

Snapshots 236

Preview Mode

Preview mode lets you recall, store and edit snapshots without affecting the current mix.

When enabled, Preview mode takes the system offline from the live audio mix so you can “work ahead” during a rehearsal, per-

formance or event to preview upcoming snapshots and edit them as needed. Any control that can be stored and recalled by snap-

shots is available while in Preview mode, and you can also modify the Snapshot list. Once you are done previewing or editing snap-

shots, you can store your changes to update the existing snapshots with your changes.

Using Preview Mode

The basic workflow for using Preview mode is as follows:

1 Make sure your active mix is set as desired, and make sure the rehearsal, event or performance has an upcoming opportunity for

you to go offline.

2 Enter Preview mode by selecting the Preview button on the main Snapshots page. The word “PREVIEW” flashes in red across

the screen for confirmation, as do all input and output channel strip displays.

3 Do any of the following:

Edit the Snapshots List

Reorder snapshots in the list, if desired, by touching-holding-and dragging them. Changes to the order of

items in the Snapshots list may affect the current active mix if the affected snapshots rely on MIDI or MTC triggering. (For more

information, see

Changing Settings in Preview Mode.)

Create a New Snapshot

Adjust settings as desired and create a new snapshot by selecting New. (See Creating New Snapshots.)

Recall and Edit an Existing Snapshot

Recall a snapshot to preview its settings and make any adjustments necessary, being sure to

re-store the snapshot before exiting Preview mode. Storing a snapshot in Preview mode does not affect previously stored MIDI or

Plug-in data (if any).

Edit Channel and Scope Settings

Edit any channel settings, parameters, or scope associated with the snapshot being previewed.

The Snapshots page displays the current snapshot name in italics to indicate that at least one parameter has been changed, and the

Channel Faders show you the previous level for each channel in bright red. Scope Data Type buttons and Channel Scope function-

ality remain live and active at all times (in other words, changes made to these controls while in Preview mode will remain once

Preview mode is exited).

Add and Edit MIDI, Plug-In Data

To add MIDI, or plug-in data associated with the snapshot, select the Add button in the MIDI or

Plug-Ins snapshot list, or select the options in the Media list. For more information, see

Adding Plug-In Data to Snapshots.

4 \To undo an action made while in Preview mode, select the Undo button on-screen. (For more information about Undo in Pre-

view mode, see

Making Changes to Snapshots.)

5 To update the currently previewed snapshot but remain in Preview mode, press or select Store.

6 Continue previewing and editing settings as needed (all snapshot functions are available in preview mode).

7 When you are finished and need to exit Preview mode, press F1 (or select the on-screen Preview button).

Preview mode

Exiting Preview mode without storing will discard the changes made while in Preview mode (Preview mode is cleared each time

you exit). You must explicitly store changes to update the associated snapshots.

Snapshots 237

Undo and Preview Mode

In Preview mode, you can Undo actions applied to the Snapshot List (such as Recall, Store, New and Duplicate) without affecting

the online mix.

Changing Settings in Preview Mode

The system tracks any changes to settings or to the Snapshot list while in Preview mode, but only Snapshot list actions create an

Undo point. Choosing Undo will undo the last action you took while in Preview mode, up to a maximum of 100 levels of Undo.

Any changes made after the last Preview action are also undone (the Snapshot screen is returned to its exact state prior to the action

that created the Undo point).

Changing the Snapshot List in Preview Mode

Changes made to the Snapshot list are automatically tracked and available for Undo, regardless of whether Preview mode is en-

abled or not. This includes any Recall of snapshots triggered by incoming MIDI or MTC while in Preview mode.

For example, if a MIDI Snapshot Recall occurs while you are in Preview mode, the online mix will be updated with that snapshot.

Pressing Undo immediately after that Recall will undo that Snapshot recall and revert the online mix to its state prior to the Undo.

Consider turning off the Chase MTC option while in Preview mode to disable all MIDI recall of snapshots. In addition, you can al-

ways use the History feature to recover from any unexpected results.

Changing MIDI, Plug-In, and Media Data in Preview Mode

Changes made to MIDI, Plug-In, and Media data cannot be undone. For more information, see

Adding MIDI and Plug-In Data

to Snapshots.

Available and Unavailable Functions in Preview Mode

In order to maintain essential mix indicators and controls while in Preview mode, not all functions are taken offline.

The following sections detail what is and what is not available during Preview mode.

Always Active

Certain essential mix functions remain live and active at all times, regardless of whether Preview mode is enabled. The following

vital mix functions continue to affect or be affected by the adjustments made to settings:

• Metering

•AFL/PFL

• Dynamics Key Listen

• Monitoring level, Headphone level and Monitoring bus Delay

• Talkback, Osc and 2-Track

• Mute Groups (recall only)

• Recall Safe

• MIDI snapshot Recall, Chase MTC and Disable (Snapshots)

• Snapshot list and Recall Safe (deleting, adding, or editing snapshots are/will be reflected online and affect the mix)

• History (auto-save)

Recall Safe in Preview Mode

The Recall Safe settings are global, and are applied to filter snapshot data regardless of the current operating mode. For details on

Recall Safe and other automation safe features, see

Recall Safe.

Multiple levels of Undo are available.

Take advantage of Tool Tips in the banner display to confirm what action the Undo button will revert. See

Undoing Snapshot

Commands.

Snapshots 238

Available and Editable in Preview Mode

Almost all system functions, such as selecting channels and banking faders, are available in Preview mode.

Not Available in Preview Mode

The only controls not available while in Preview mode are those controls which are not able to be stored or recalled via snapshots.

In addition, Config mode options are unavailable in Preview mode.

Unavailable functions include the following:

• Make Stereo, or Split to Mono

• Move channels

• Input channel Gain Guess

• Input channel Input Direct switch

• Insert mode (plug-ins cannot be edited)

• Enabling or disabling sample rate conversion

Config Mode

Config mode is not available while in Preview mode. Pressing the Config switch (or double-selecting the Config/Show mode icon

on-screen) displays a dialog box in which you can choose to “Exit Preview” (return to online mix, in Config mode), or “OK” (re-

main in Preview mode).

The system automatically switches to Show mode if Config mode is active at the time Preview mode is entered.

Plug-Ins and MIDI Data in Preview Mode

In Preview mode, plug-ins and MIDI data operate in a similar way as when using the standalone software.

You must explicitly add or update plug-ins and MIDI data to update snapshots, whether or not Preview mode is enabled. You can

do this from the main Snapshot page, or (for plug-ins) from the plug-in racks.

Only those controls that can be stored and recalled via snapshots are available for offline previewing and editing.

These functions are neither available for offline access in Preview mode, nor do they remain active (online) while in Preview

mode. To adjust any of the above settings, you must exit Preview mode.

Updating plug-in data in an associated snapshot from the plug-in view

Snapshots 239

Plug-Ins in Preview Mode

Recalling a snapshot that contains plug-in data affects the offline (Preview) routing and bypass state of the plug-in only; the online

plug-in parameter settings are not recalled, and the online mix is not affected.

The following plug-in functions are available offline in Preview mode:

• Plug-in routing can be changed

• Plug-in rack view can be changed

• Plug-ins can be added to a snapshot to capture its current online parameter settings and (Preview mode) routing

The following plug-in functions are not available while in Preview mode:

• Plug-ins cannot be added to or removed from rack slots

• Plug-in presets cannot be recalled or saved

• Plug-in parameters cannot be changed (you cannot open plug-in windows while in Preview mode)

• Plug-ins cannot be installed

MIDI in Preview Mode

Incoming MIDI or MTC continues to trigger snapshot recall while in Preview mode. However, MIDI messages stored to snapshots

are not sent out when a snapshot is recalled in Preview mode. For more information, see

Adding MIDI Data to Snapshots.

MTC/LTC and Other Online Event Triggers

While in Preview mode, triggers that occur in the online state of the system are executed, including MTC-or LTC-driven recall of

snapshots. Triggers caused by changes to the offline (Preview) controls are ignored and do not cause events to occur. For more in-

formation, see

Events.

For more information, see Adding Plug-In Data to Snapshots.

Snapshots 240

Adding MIDI and Plug-In Data to Snapshots

You can add MIDI and plug-in data to snapshots using the MIDI/Plug-In list. Open the list to add and edit data. You can expand

the list for a larger view of list items.

To open the MIDI/Plug-Ins list:

 On the Snapshots page, select the MIDI or PLUG-INS button.

To expand the To open the MIDI/Plug-Ins list:

 Select the Expand button.

Adding MIDI Data to Snapshots

When the MIDI data type is scoped for a snapshot, any stored MIDI messages are sent when the snapshot is recalled.

The following MIDI messages are supported and available in the MIDI list:

• Note Off

•Note On

• Poly Key Pressure

• Control Change

• Program Change

• Channel Pressure

• Pitch Bend

• MIDI Machine Control Stop

• MIDI Machine Control Play

• MIDI Machine Control Fast Forward

• MIDI Machine Control Rewind

• MIDI Machine Control Eject

• MIDI Machine Control Chase

• MIDI Machine Control Pause

• MIDI Machine Control Locate

When the MIDI data type is scoped for a snapshot, its MIDI messages are sent when the snapshot is recalled.

No MIDI message data is captured when a snapshot is first created. MIDI messages are added to existing snapshots directly from

the MIDI pop-up menu. You can store up to 20 MIDI messages in each snapshot.

MIDI/Plug-Ins List Expand button

Snapshots 241

To add a MIDI message to a snapshot:

1 Target the snapshot you want to modify.

2 Select the Expand button.

3 Select Add and choose a message from the pop-up menu.

The MIDI lights in the Snapshots list for each snapshot that contains MIDI messages.

To record incoming MIDI data to a snapshot.

1 Select REC.

2 Send a supported MIDI command.

3 Select REC again when done.

To edit a MIDI message in the MIDI list:

1 Double-select the message text to display the pop-up menu bar for the message.

2 Choose the message name and send channel or device ID from the pop-up menus.

3 Enter the message values in the text fields or drag up or down across the text field to change the values.

4 Select in the MIDI list area to dismiss the pop-up menu bar.

To remove a MIDI message from a snapshot:

 Touch-and-hold the MIDI message in the MIDI list and choose Delete.

Snapshot MIDI pop-up menu

Lit and unlit MIDI icons in the Snapshots list

Editing a MIDI message in the snapshot MIDI list

Snapshots 242

Viewing MIDI Messages in Hexadecimal Format

You can toggle the view of MIDI messages in the MIDI list between hexadecimal and decimal formats.

To toggle the view format of the MIDI list:

 Select the Hex button in the MIDI/Plug-Ins list header.

Safing MIDI Message Output

You can temporarily disable output of embedded MIDI messages so that they are not sent when a snapshot is recalled, even when

the MIDI data type is scoped.

To safe MIDI message output on-screen:

1 Go to the Snapshots page and select the Recall Safe tab.

2 Select the MIDI global output Safe button above the parameter matrix so that it lights.

Adding Plug-In Data to Snapshots

When the Plug-In data type is scoped for a snapshot, plug-in routing, in/out state, and settings are recalled with the snapshot. (Add-

ing or changing plug-in side-chain routing is not supported in snapshots.)

The Snapshots Plug-Ins list lets you select multiple plug-ins and add, remove and update them simultaneously across one or more

snapshots. Multiple snapshots can be selected, and others can be added to or removed from the selection, at any time prior to add-

ing, removing, or updating plug-ins and snapshots.

No Plug-In data is captured when a snapshot is first created. Plug-In data is added to existing snapshots from the Plug-Ins list or

from the Plug-In rack.

Adding Plug-Ins to Snapshots

To add a plug-in to one or more snapshots from the Snapshots page:

1 Select one or more snapshots in the Snapshots list.

2 Select the Expand button in the MIDI/Plug-Ins list to expand the Plug-In list.

3 Select the ADD button within the Snapshot Plug-Ins list and select a plug-in (or All Plug-Ins) from the menu.

To add a plug-in to snapshots from the Plug-Ins page:

1 Select one or more snapshots in the Snapshots list.

2 Go to the Plug-Ins page.

3 Select the Snapshots menu for the plug-in to be added and choose Add This Plug-In To Selected Snapshots. The selected

plug-in is added to the currently targeted snapshot, as well as all other snapshots within the multi-selection.

Snapshots within the multi-selection that already contained the plug-in being added are unaffected and preserve any previously

stored settings.

MIDI output is automatically suspended while in Preview mode.

Snapshot Plug-In list

Snapshots 243

Removing a Plug-In from Snapshots

To remove a plug-in from snapshots from the Snapshots page:

1 Select an individual snapshot, or create a multi-selection of snapshots in the Snapshots list.

2 Select the Snapshots Plug-Ins icon to show the Snapshots Plug-Ins list.

3 Touch-and-hold a plug-in within the plug-in list of the currently targeted snapshot and choose Remove This Plug-In From Se-

lected Snapshots.

To remove a plug-in from snapshots from the Plug-Ins page:

1 Select one or more snapshots in the Snapshots list.

2 Go to the Plug-Ins page. All plug-ins that are associated with any of the currently selected snapshots are identifiable by a red

Snapshot selector.

3 Select the red Snapshot selector for the plug-in to be removed and choose Remove This Plug-In From Selected Snapshots.

The selected plug-in is removed from the currently targeted snapshot, as well as all other snapshots within the multi-selection. Only

snapshots within the multi-selection that contain the selected plug-in are affected.

Updating a Plug-In Across Snapshots

To update a plug-in across snapshots from the Snapshots page:

1 Select one or more snapshots in the Snapshots list.

2 Select one or more plug-ins (shift-select) within the plug-in list of the currently targeted snapshot

3 Touch-and-hold the desired plug-in within the plug-in list and choose Update Plug-In In Selected Snapshots.

To update a plug-in across multiple snapshots from the Plug-Ins page:

1 Select one or more snapshots in the Snapshots list.

2 Go to the Plug-Ins page. All plug-ins that are associated with any of the currently selected snapshots are identifiable by a red

Snapshot selector.

3 Select the Snapshot selector for the plug-in to be updated and choose Update This Plug-In In Selected Snapshots.

The selected plug-in is updated within the currently targeted snapshot, as well as all other snapshots within the multi-selection.

Snapshots within the multi-selection that do not already contain the plug-in being added are unaffected.

Editing Plug-Ins

The Snapshot page provides two ways to quickly navigate to a plug-in to edit its routing assignment or parameters.

To edit a plug-in associated with a snapshot:

 Double-tap the item in the Snapshot Plug-Ins list. Or, in the Snapshots Plug-Ins list touch-and-hold a plug-in and choose Edit

Plug-In.

Snapshots plug-ins pop-up menu with multiple plug-ins selected in the Snapshots Plug-Ins list

Snapshots 244

Adding Tempo Data to Snapshots

The Snapshots list can be toggled to display Tempo, along with a Tempo On/Off indicator for each snapshot entry.

Storing a tempo with snapshots lets your system tempo change per song or scene. This lets you take full advantage of Tempo Sync

(aka Tap Tempo) to synchronize delay and echo plug-ins. The System Tempo is set on the Options > Misc page. For details on con-

figuring the system tempo and using it to synchronize plug-ins, see

Tap Tempo for Plug-ins.

Displaying Tempo in the Snapshots List

To show Tempo in the Snapshots list:

 Touch-and-hold anywhere in the Snapshots list and choose Show Tempo.

Tempo is displayed in BPM (beats per minute) or milliseconds, as set in the Options > Misc page.

To change the units for Tempo display:

1 Go to the Options > Misc page.

2 In the Tap Tempo section, select BPM or ms.

Assigning and Enabling a Tempo

Each snapshot can store a custom tempo value. You can manually enter a custom tempo, or use a shortcut to assign the current Sys-

tem Tempo.

You can use the Tempo Enable icon to enable or disable tempo recall when the associated snapshot is recalled.

To assign a Tempo value to a snapshot manually:

1 In the Snapshots list, double-tap the Tempo value you want to change, then do one of the following:

• From the keyboard, type a new tempo value.

• Press the Up and Down Arrow keys to increase and decrease the selected value.

2 Press Enter or select another snapshot Tempo value to confirm the entry.

To assign the current System Tempo to a snapshot:

1 Make sure Tempo is shown in the Snapshots list.

2 Touch-and-hold and choose the Set Tempo to option, which will display the current System Tempo.

To toggle tempo on/off for each snapshot:

1 Make sure Tempo is shown in the Snapshots list (if not, touch-and-hold any item in the list and choose Show Tempo).

2 Select the Tempo icon. The icon lights when tempo is enabled.

The current tempo and a lit Tempo icon in the Snapshots list

Snapshots 245

Adding Pro Tools Markers Using Snapshots

With VENUE Link enabled, you can set individual snapshots to create a new Marker in the Pro Tools Timeline. While Pro Tools

is recording, whenever that snapshot is recalled, a new Marker is created and named according to the recalled snapshot.

Displaying the Marker Icon

To show Markers in the Snapshots list:

 Touch-and-hold anywhere in the Snapshots list and choose Show Markers.

A lit Markers icon indicates that recalling that snapshot will create a new Marker in the Pro Tools timeline when recording.

Snapshot Options

Center Last Recalled Snapshot

The Options > Snapshots page provides a preference setting to always center the Snapshot list on the last recalled snapshot. When

enabled, the

Center Last Recalled Snapshot setting lets you always view the snapshots immediately above and below (prior to

and following) the last recalled snapshot. This setting only affects the scroll position of items in the Snapshot list.

Confirm Snapshot Recall

When this setting is enabled, a warning dialog appears when any snapshot is recalled asking to confirm the operation. When not

enabled, recalling snapshots requires no confirmation.

Enable Strip Control on Snapshots Tab

When this setting is enabled (the default setting), you can adjust channel faders, Safe, Solo, and Mute controls in the strips sections

along the bottom of the main Snapshot tab. When not enabled, these controls cannot be adjusted on-screen (legacy behavior).

Crossfade Time

You can set the X-fade (crossfade) time for the channel faders between snapshots from 0–99.9 seconds, in 0.1 second increments.

This value determines the fade time, or the time it takes for the controls to move to their new positions when a snapshot is recalled.

In addition to channel faders you can optionally enable snapshot crossfade for pan/balance/width,

All other controls are unaffected by the crossfade time, and are updated instantly when a snapshot is recalled. Each snapshot may

be assigned its own crossfade time. In addition, crossfades will continue through a subsequent snapshot recall as long as the cross-

fading channels are not scoped in the incoming snapshot.

Pan, Balance & Width

Enable this setting have channel pan parameters follow snapshot crossfade settings.

Default Crossfade Time

The default crossfade time assigned to new snapshots can be set with this option, with a possible range of 0–99.9 seconds.

To set the Default Crossfade Time:

 Go to Options > Snapshots, then under Snapshot General Preferences enter a value or drag in the text box and press Enter.

For more information, see the VENUE S6L Live Recording Guide.pdf.

Snapshot options

Snapshots 246

Crossfade Bypass

Snapshot crossfades can be up to 99.9 seconds. You can quickly bypass (cancel) a crossfade and immediately advance to the stored

snapshot fader settings in order to speed up rehearsals, or whenever on-stage action moves faster than a programmed crossfade.

To bypass a snapshot crossfade:

 Recall the same snapshot at any point during the crossfade. Doing so recalls the entire contents of that snapshot, in addition to

bypassing the crossfade. This is equivalent to recalling the snapshot with an effective crossfade time of 0 seconds. Any scoped

parameters which were manually changed during the crossfade time will be reset to the values stored in the snapshot.

Special Cases for Crossfade Bypass

Incoming MIDI Commands

The snapshot crossfade is not bypassed if a MIDI Program Change message recalling the same snap-

shot is received during the crossfade.

MTC

The snapshot crossfade is not bypassed if a MTC trigger recalling the same snapshot occurs during the crossfade.

Multiple Simultaneous Crossfades

The crossfade can be bypassed for the most recently recalled snapshot only.

Preview Mode

If you enter Preview mode in between Recall commands, the offline (Preview mode) crossfade will be bypassed;

the online crossfade will not.

Pre Settings

Snapshots can be used to recall the preamplifier settings on inputs for all scoped input channels. You can set any of the following

Pre parameters to be recalled by the Pre data type button: Gain, Pad and Phase/polarity, +48V (Phantom Power), HPF corner fre-

quency and in/out state.

To set the Pre parameters recalled by the Pre Data Type button:

1 Go to Options > Snapshots.

2 Under Pre, select the options you want to include. Selected items will be affected when the Pre data type is included in the scope

of a snapshot.

Classifying Aux Sends

You can classify Aux Sends as monitor sends (“Aux Mon”) or as effects sends (“Aux FX”), which lets you scope each type sepa-

rately from the Snapshots tab of the Options page.

To classify Aux Sends for snapshot scope:

1 Go to the Options page and select the Snapshots tab.

2 For each Aux Send bus or bus pair, select the Aux Mon or Aux FX buttons to classify it as a monitor send or effects send, re-

spectively.

Aux Pre/Post State

Select this option to include the pickoff point pre-fader or post-fader state of each Aux Send in snapshots.

This option is only a means of organizing Aux Sends for snapshot control, and does not directly affect Aux bus operation. See

also

User Aux Scope.

Classifying Aux Sends

Snapshots 247

User Aux Scope

The User Aux tab provides a grid that lets you scope individual Aux Sends per Input channel, to specify which Aux Sends on each

input to include or exclude when storing and recalling snapshots.

In addition, the Data Type Scope button AUXUSR (Aux User) is provided in the main

Snapshots tab. This button enables (includes) or disables (excludes) User Aux grid settings

from being recalled by snapshots.

User Aux Scope Example

The ability to include or exclude individual Auxes in snapshots has many applications, in-

cluding monitor mixing.

For example, you can configure a single snapshot to raise the monitor level of a specific in-

put such as lead guitar only in the mix for the lead guitarist. By scoping only the Aux feed-

ing the guitarists monitor mix on the guitar input channel, recalling a snapshot with that

Aux raised a few dB will not affect the guitar level in other performers’ monitors.

The example image to the right shows the User Aux Scope grid configured for this exam-

ple. A snapshot “003 Gtr 1_Solo +2dB IEM 3” has been stored with only the Aux “IEM 3”

scoped for the input channel “GTR E 1_stg L.”

User Aux Scope tab (at top) and grid (at right) shown in the Snapshots tab

Snapshots 248

Using the User Aux Scope Grid

To enable User Aux Scope settings:

1 Go to the Snapshots page.

2 On the Main tab, enable the AUX/USR button in the Scope section.

When the AUX/USR button is enabled:

• The matrix in the User Aux Scope tab becomes active.

• Settings in the User Aux Scope tab are recalled with the current snapshot(s), as long as they are not Recall Safed.

When the AUX/USR button is not enabled the User Aux tab remains available but the matrix is taken offline and is grayed out,

indicating User Aux Scope settings will not be recalled with the current snapshot(s).

Aux Mon, Aux FX, and Aux User

When the AUX/USR Data Type Scope button is enabled in the Main tab of the Snapshots page, the AUXMON and AUXFX Data

Type Scope buttons remain available and control scope for Auxes classified as Mon or FX in the Options > Snapshots screen. En-

abling

AUXMON or AUXFX scopes the corresponding Auxes; by enabling AUX/USR you can add (or remove) individual Auxes.

To access the User Aux Scope grid:

1 Go to the Snapshots page and make sure the AUX/USR Data Type Scope button is enabled.

2 Select the User Aux Scope tab. Select a Channel tab to display the desired Input channels.

To scope individual Auxes on specific Input channels:

1 Make sure the desired Input channels are scoped (fader strips are red) in the Snapshot Main tab.

2 In the User Aux tab, select in the grid at the intersection of the appropriate Aux (column) and channel (row). A dot appears, in-

dicating that the corresponding Aux on that channel is scoped.

To scope multiple Auxes or channels at a time:

 Touch and drag in a column, across a row, or at an angle.

To scope an Aux across all currently displayed channels:

 Select the Aux grid icon at the top of the appropriate column until the triangle is white.

To scope all Auxes for a particular channel:

 Select the Channel grid icon next to the Channel Name in the appropriate row until the triangle is white.

To toggle the status of an entire Aux column or channel row:

 Select the appropriate Aux or Channel grid icon repeatedly until it displays the desired status. For more information, see

5–UserAuxScopeMatrix.

To scope all Auxes across all channels and clear any current settings:

 Select the triangular icon at the upper left of the matrix (at the top of the ALL column).

AUX/USR button enabled in the Scope section of the Snapshots Main tab

The AUXMON and AUXFX scope buttons do not affect and are not affected by the AUX/USR button. The User Aux matrix does

not indicate scope status of AUXMON or AUXFX.

You can undo or redo the last action taken in the matrix. Selecting a different snapshot clears the Undo.

Snapshots 249

Using Aux User Presets

The configuration of the Aux User tab can be stored as a User Aux Scope settings file. User Aux Scope settings (presets) can be

previewed, recalled and transferred just like plug-in, EQ and dynamics settings.

To store the current User Aux Scope settings as a preset:

1 Configure the User Aux Scope tab as desired.

2 Select the Presets icon (the folder icon located above and to the right of the matrix).

3 Select New.

To preview and recall a saved preset:

1 From the User Aux Scope tab, select the Presets icon to display the User Aux Scope Presets window.

2 If necessary, choose the appropriate folder by selecting it from the Folder selector.

3 Do any of the following:

• To preview an existing preset, select its name in the window.

• To load the currently selected preset, press Enter or press

OK in the window title bar.

• To cancel without changing User Aux Scope settings, select Cancel.

Transferring User Aux Scope Presets

You can transfer User Aux Scope presets from the Filing page. To access User Aux Scope presets, touch-and-hold (right-click)

Scope Sets and choose User Aux Scope from the pop-up menu.

User Aux Scope presets Folder selector

Selecting Recall Safe or User Aux Scope

Snapshots 250

User Aux Scope Displays and Controls

The User Aux Scope tab provides the following displays and controls.

1 – Snapshot List

The Snapshot list and its primary functions (such as Previous and Next) remain visible and available from the User Aux Scope tab.

2 – Channel Tabs

Along the left side of the matrix are the Channel tabs, which select different ranges of Input channels listed in the matrix.

3 – Undo

The Undo function lets you undo the last action applied to the User Aux Scope matrix.

4 – User Aux Scope Presets

See Channel Safe.

Primary displays and controls in the User Aux Scope tab

Targeting (selecting) a different snapshot clears the User Aux Undo function.

3 4

Snapshots 251

5–UserAuxScopeMatrix

The User Aux Scope matrix is a scrollable grid in which you can scope individual Auxes and Input channels. You can undo and

redo matrix operations.

The following table describes the elements of the User Aux Scope matrix shown in the figure above.

Matrix Icons

The display state of the Aux and Channel grid icons indicate scope status for that column or row as follows:

User Aux Scope matrix

Legend Item Description

1 Snapshot Displays the name of the currently targeted snapshot

2 Channels

Tabs select ranges of Input channels shown in rows in the list. Red indicates scoped channels (for a

channel to be scoped and red it must be scoped in the Snapshots Main tab). Double-clicking an Input

Channel name lets you rename it.

3 Channel icons Toggles scope of all Auxes on the corresponding channel; indicates scope status for that row

4 Auxes All available Auxes are listed across the top of the matrix. Red indicates scoped Auxes

5 Aux icons Toggles scope of the corresponding Aux on all channels; indicates scope status for that column

6 “All”

This single icon (above all Channel icons and to the left of all Aux icons) toggles scope on/off for all

channels and Auxes

7 Grid Matrix of channels and Auxes. A lit circle indicates that Aux is scoped on that channel

Icon Name Description

None A dark Aux or Channel grid icon indicates that no items in that column or row are scoped.

Some A lit triangle inside an unlit circle indicates that at least one item in that column or row is scoped.

All A lit (white) triangle and circle indicates that all items in that column or row are scoped.

Snapshots 252

Recall Safe

Recall Safe lets you select which parameters on which channels you want to be “safed” from snapshots. Recall Safe is global to all

snapshots, can be turned on or off quickly, and provides preset capabilities in the form of Scope Sets. Scope Sets can be loaded and

saved just like Presets for built-in EQ, dynamics, and plug-in settings. Current Recall Safe settings are stored with the Show file.

To access Recall Safes:

1 On the external screen, go to the Snapshots page and select the Recall Safe tab. The Recall Safe tab is red when Recall Safe is

on and in effect, and gray when Recall Safe is off or when nothing is safed.

Recall Safe Displays and Controls

1 – On

The master On button toggles the entire Recall Safe feature on or off globally. When lit (blue), Recall Safe is active. When dark,

Recall Safe is suspended.

2 – Snapshot List, Recall and Store

The Snapshot list and its Recall and Store functions remain visible and available from the Recall Safe tab at all times.

3 – Channel and Channel Type Tabs

The Inputs and Outputs tabs at the top of the parameter matrix selects the channel type whose safe status you want to view or edit.

Along the left side of the parameter matrix are the Channel Type tabs, which change depending on whether you are viewing Input

or Output tabs.

Individual channels can be safed from all effects of snapshot recall using channel Automations Safe. See

Managing Snap-

shots.

Indication of active Recall Safe from the main Snapshots page

Displays and controls in the Recall Safe tab

Snapshots 253

4 – Global Safe for MIDI Output, Plug-Ins, and Media

These checkboxes let you globally suspend recall of MIDI output, plug-in changes and/or Media page Transport commands. They

are considered separate from the parameter matrix and do not follow the Recall Safe master On (or Off) status.

5 – Scope Sets

Scope Sets are presets for the Recall Safe tab that can be stored and loaded, just like plug-in, EQ and dynamics presets. Scope sets

can be used as a template when creating new Shows, or used to change Recall Safe settings during a performance. Like other presets

and settings files, Scope Sets can be transferred from the Filing page, making it easy to maintain and transfer Recall Safe config-

urations. For more information, see Using Scope Sets.

6 – Parameter Matrix

The parameter matrix is a scrollable grid in which you can safe parameters and channels. You can undo and redo parameter matrix

operations.

Parameters are represented in the columns of the parameter matrix; channels are listed along the left side in rows.

Selecting in the grid enables safe status for that parameter on that channel. Parameter and Channel grid icons provide shortcuts to

quickly “safe all” parameters, and to safe entire channels. Selecting these icons lets you quickly toggle recall safe status for entire

columns and rows. You can also use the master grid icon located in the upper left most corner to toggle the entire grid.

Parameter matrix for Recall Safe

1 – Channels

2 – Channel Type Tabs

3 – Channel Icons

4 – Parameters

5 – Parameter Matrix Icons

6 – Channel Safe Button

7 – Grid

Snapshots 254

Parameter Matrix Icons

The display state of the Parameter and Channel grid icons indicate safe status for that column or row as follows:

None

A dark Parameter or Channel grid icon indicates that no items in that column or row are safe enabled.

Some

A dark triangle inside a lit blue circle indicates that at least one item in that column or row is safe enabled.

All

A lit (white) triangle indicates that all items in that column or row are safe enabled.

Channel Safe Controls

The CHANNEL SAFE column acts as a global “all channel” setting or override, mirroring the Channel Safe switches and buttons

(when in Channel Safe Switches act as Automation Safes mode).

Controls in the CHANNEL SAFE column are not part of the parameter matrix; they function in addition to the parameter matrix.

As a result, you do not need to enable any CHANNEL SAFE settings to use the Recall Safe parameter matrix.

Display states for grid icons in Recall Safe

For more information, see

Managing Snapshots.

None Some All

Grid master icon

Channel Safe

Snapshots 255

Using Recall Safe

To access Recall Safe:

1 Go to the Snapshots page and select the Recall Safe tab.

2 Select a Channel Type tab to display the desired channels.

To safe individual parameters on specific channels:

 Select in the grid at the intersection of the appropriate parameter (column) and channel (row). A blue dot appears, indicating a

parameter is safed.

To safe multiple parameters or channels at a time:

 Touch and drag in a column, across a row, or at an angle.

To safe a parameter across all currently displayed channel types:

 Select the Parameter grid icon at the top of the appropriate column until the triangle is white.

To safe all parameters for a particular channel:

 Select the Channel grid icon in the ALL column for that channel (row).

To toggle the status of a parameter column or channel row:

 Select the appropriate Parameter or Channel grid icon repeatedly until it displays the desired status. For more information, see

6 – Parameter Matrix.

To safe all parameters across all channels and clear any current settings:

 Select the triangular icon at the top of the ALL column.

Channel Safe

To automation safe an individual channel and retain all recall safe settings for that channel:

 Select in the CHANNEL SAFE column for the desired channels.

To automation safe all parameters across all channels and retain all current recall safe settings:

 Select the CHANNEL SAFE master icon at the top of the Channel Safe column.

Enabling recall safe for channel 1 fader

You can undo or redo the last action taken in the parameter matrix.

A channel (row) Channel Safe button does not need to be lit in order to Recall Safe individual parameters for that channel.

The Channel Safe column mirrors the channel automation Safe controls. For more information, see

Managing Snapshots.

Snapshots 256

MIDI

When engaged, this button prevents the MIDI data stored in the snapshot from being sent. This does not affect sending of Bank Se-

lect and Program Change commands with the Snapshots Send on Channel option (Options > Snapshots > MIDI).

To enable Recall Safe for MIDI Snapshot output:

 Select the MIDI Snapshot Output Safe button, located above the parameter matrix.

Plug-Ins

When engaged, this button prevents plug-in control settings, in-circuit state, and routing from being recalled.

To enable Recall Safe for plug-ins:

 Select the Plug-In Snapshot Safe button, located above the parameter matrix.

Media

When engaged, this button prevents USB 2-track record and playback transport commands for from being recalled.

To enable Recall Safe for USB 2-track Transport controls:

 Select the Media Snapshot Safe button, located above the parameter matrix.

Matrix

Snapshots can store and recall all source assignments of each matrix mixer when the Matrix data types is scoped. In addition, all

User Input assignments are stored, letting you reconfigure Matrix mixers and User Input assignments on a per snapshot basis, if de-

sired.

The Recall Safe tab provides two data “Mix” data types that let you discretely “safe” source and/or user input assignments to pre-

vent them from being changed with a snapshot recall.

The following table describes what can be stored and recalled in each snapshot when the Matrix data types is scoped.

For more information, see

Adding MIDI Data to Snapshots.

For more information, see Adding Plug-In Data to Snapshots.

For more information, see Adding Tempo Data to Snapshots.

Table 4. Snapshot data types and parameters for Matrix mixers

Snapshot Data Type Included Parameters (for Each Scoped Channel Strip)

Matrix Mixer Input Sources, User Input Assignments (global to all Matrixes), and pickoffs; Mixer Input level,

Mixer Input on/off and Mixer Input Link

Snapshots 257

Using Scope Sets

The configuration of the Recall Safe tab can be stored as a Scope Set settings file. Scope Sets can be previewed, recalled and trans-

ferred just like plug-in, EQ and dynamics settings.

To store the current Recall Safe settings as a Scope Set:

1 Configure the Recall Safe tab as desired.

2 Select the Scope Sets icon (the folder icon located above and to the right of the parameter matrix).

3 Select New.

To preview and recall a saved Scope Set:

1 From the Recall Safe tab, select the Scope Set icon to display the Scope Set window.

2 If necessary, choose the appropriate Scope Sets folder by selecting it from the Folder selector.

3 Do any of the following:

• To preview an existing Scope Set, select its name in the Scope Sets window.

• To load the currently selected Scope Set, press Enter or press OK in the Scope Sets window title bar.

• To cancel without changing Recall Safe settings, select Cancel.

Scope Sets Folder selector

See

Filing for complete information on transferring system data.

Snapshots 258

Automation Safing Channels

Automation Safing a channel lets you suspend the effect of snapshots on all parameters of the channel. You can Automation Safe

channels using the Channel Safe switches, the Channel Knob Module (CKM) in Channel Control mode, or the Channel Menu. To

Automation Safe channels using the Channel Safe switches, you must first enable Automation Safe mode.

Automation Safing Using the Channel Safe Switches/Button

The Channel Safe switch on the S6L control surface and the Channel Safe button on the external software screen toggle Automa-

tion Safe for that channel when Automation Safe mode is enabled. Automation Safe Mode is enabled globally for input and output

channels on the

Options > Interaction page of the external screen.

To enable Automation Safe for the Channel Safe switches:

1 On the external screen, go to the Options > Interaction page.

2 In the Channel Safe Switches section, under Inputs and Outputs, select Automation Safes as desired.

To Automation Safe channels using the Channel Safe switches:

1 Make sure you have enabled Automation Safe for the Channel Safe switches.

2 On the S6L control surface, do the following:

• Bank the desired channel to the faders.

• Press

Safe for the channel you want to Automation Safe.

3 On the external screen, do the following:

• Go to the Inputs or Outputs page, and navigate to the desired channel using the provided tabs and buttons.

• Select the Channel Safe switch for the desired channel, located at the top of each fader strip.

Automation Safe status for the channel is indicated as follows:

• On the control surface channel strip, the

A LED lights green.

• In the Input section of the MTS and CTM Channel view for the channel, A lights green.

• On the external screen the Safe button flashes green and shows the letter B (A appears if the switch is acting as an Automation

Safe, and S appears if it is acting as a Solo Safe).

You can create an event that lets you cycle through the various Channel Safe switch modes, as well as suspend or disable Au-

tomation Safe. See

Creating Events.

S6L Channel Safe switch engaged

Indications that a channel is Automation Safed on the channel strip (left) the MTS/CTM Channel view (center) and on the external screen

(right)

Menu Safe

Select

Solo

Mute

AS B

CH 1

Ch 1

0.0 dB

Snapshots 259

Automation Safing Using the Channel Knob Module (CKM)

To Automation Safe a channel using the CKM:

1 Bank the desired channel to the faders.

2 Press the Select switch for the channel you want to Automation Safe so it lights, then press the INPUT Channel Control Func-

tion switch so it lights.

– or –

• Touch the channel’s Input touch zone on the associated Channel Touch Module (CTM).

Input parameters are assigned to the associated CKM.

3 Locate the Automation Safe encoder, indicated by Auto Sf on the encoder display, and press the encoder.

The encoder In switch lights green, and the channel is Automation Safed.

CKM Channel Control Function Switches

Input touch zone on the CTM in Meters view (left) and in Channel view (right)

Automation Safe parameter on a CKM encoder

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

Auto Sf

Snapshots 260

Automation Safing Using the Channel Menu

You can Automation Safe a channel using the Channel Menu when a different Safe mode (such as Bank and/or Solo Safe) is en-

abled for the Channel Safe switches.

To Automation Safe a channel using the Channel Menu:

1 Bank the desired channel to the faders.

2 Press the Menu switch for the channel you want to Automation Safe until Safe Mode appears in the channel display. The Safe

modes enabled by the Left and Right Channel Menu switches are shown below Safe Mode.

3 Press the Left Channel Menu Switch so it lights to Automation Safe the channel. The A LED lights green.

Right Channel Menu switch engaged

Menu Safe

Mute

AS B

Ch 1:Stage1-01

Source

Auto/Bank

Safe Mode

Snapshots 261

Snapshot Data Types and Parameters

Table 5. Snapshot data types and parameters included in each data type

Snapshot Data Type Included Parameters (for Each Scoped Channel Strip)

Fader Main volume level

Mute Mute state for explicitly muted channels, and channels muted via VCA mute (Mute Group state is not snap-

shottable)

EQ EQ type selection (analog/digital); EQ in-circuit state;

Band gain, freq, Q, bell/shelf selection (digital only), band on/off

Dyn Compressor/Limiter in-circuit state; threshold, ratio, attack, release, knee, makeup gain

Expander/Gate in-circuit state; threshold, ratio, attack, release, hold time, range, side-chain input

Pan Channel pan or balance/width

Pan or balance/width for each Group bus returning back to L–R

Bus Group bus assignments, group bus mono/stereo-linked state (if mono groups) or dual-mono/true stereo

state (if stereo groups), L–R bus assignment and C/M bus assignments for input strips and groups

In Input routing for input channels.

Out Main out assignments; direct out assignments, level, in-circuit state, & tap-off point (excluding VCAs)

H/W Hardware Insert routing and in-circuit state (excluding VCAs)

VCA VCA membership

Pre Gain, pad, phase, phantom power, HPF corner frequency & in-circuit state

Name Name for each strip

MTX Mixer Input Sources, User Input Assignments, and pickoffs; Mixer Input level, Mixer Input on/off and Mixer

Input Link state

LAYT User Layout

Aux Mon On/off, pre/post selection, level, and pan/balance for each Aux bus classified as a Monitor Aux

Aux FX On/off, pre/post selection, level, and pan/balance for each Aux bus classified as an FX Aux

AUX USR On/off, pre/post selection, level, and pan/balance for each Aux bus enabled in the User Aux grid

Dly Channel delay time & in-circuit

MIDI All MIDI messages that were added to the associated MIDI list for that snapshot.

Plug-Ins Rack slot settings, in-circuit state, and I/O routing for each plug-in added to plug-ins list for that snapshot

Patchbay 262

Patchbay

The Patchbay is used to assign Input and Output Channels, Direct Outputs, and Inserts to hardware inputs and outputs. The Patch-

bay also provides the ability to name input and output channels and to export your patchlist.

Accessing the Patchbay

To show the Patchbay screen:

 Select the Patchbay button on the external screen.

To jump to the Patchbay from the Inputs and Outputs screens:

 Select the channel routing indicator, right below the channel name display. The screen au-

tomatically jumps to the corresponding Patchbay screen (whether an input, output, or bus).

Overview of the Patchbay

The Patchbay screen lets you patch hardware I/O to input and output channels, and consists of the following tabs and controls:

Patchbay page (Inputs tab shown)

1 –

I/O Tabs

2 – Hardware Tabs

3 – Channel Type Tabs

4 – Patching Grid

Patchbay 263

I/O Tabs

Select these tabs to display and patch Inputs, Outputs, Directs (Direct Outputs), or Inserts. Other options in the Patchbay screen

change to reflect the currently selected I/O tab.

Hardware Tabs

Select these tabs to display the hardware inputs and outputs available for the current I/O and Channel Type. These tabs represent

the physical inputs and outputs of the system, as follows:

Available hardware inputs and outputs are based on channel type selection, system configuration and hardware device status. See

Unavailable I/O.

Channel Type Tabs

Select these tabs to select and display specific types of channels, as available for the currently selected I/O. The following table

shows the available Channel Types for the current I/O.

Network and Expansion Cards

Select items under Network Cards or Expansion Cards to select and display channels for the corresponding IO devices.

Network Cards (Connected Devices)

Displays I/O available on connected Stage 64s (such as SRI, SRO, DSI, DSO, or DNT-192

Dante cards).

Expansion Cards

Displays I/O available on E6L option cards, if any, such as MADI-192 MADI Option cards.

Patching Grid

The patching grid shows hardware I/O across the top, and system channels (with colors) down the left side. The available channel

tabs and choices are determined by the currently selected I/O tab and Channel type(s). The grid squares represent patch points be-

tween hardware I/O and VENUE mixing channels.

Navigating the Patching Grid

To scroll through the channel list (vertically):

 Select a channel name at the left of the patching grid, then press the Up or Down Arrow keys on the keyboard.

To scroll through the hardware I/O list (horizontally):

 Select a hardware I/O channel at the top of the patching grid, then press the Left or Right Arrow keys on the keyboard.

The Inserts tab lets you patch hardware inserts on input and output channels. See

Hardware Inserts for more information.

Hardware Tabs Hardware Inputs Hardware Outputs

Stage (1–6) Stage I/O unit analog and digital inputs Stage I/O unit analog and digital outputs

Console S6L control surface analog and digital inputs, and the

built-in oscillator.

S6L control surface analog and digital outputs

Local (1–2) Local 16 analog and digital inputs Local 16 analog and digital outputs

Pro Tools Assignable Ethernet AVB Inputs from Pro Tools (see

S6L Live Recording Guide.pdf for more information).

Assignable Ethernet AVB outputs to Pro Tools (see S6L

Live Recording Guide.pdf for more information).

I/O Tab Channel Types available

Inputs Input channels

Outputs Mains, MTX (Matrixes), Auxes, Groups

Directs Input and Output Channels

Inserts Input and output channels.

Patchbay 264

To scroll the patching grid, do one of the following:

 Select the up/down or left/right patching grid scroll arrows to move square by square.

 Select the up or down patching grid double arrows to move screen by screen.

 Touch and hold in the patching grid and drag in any direction.

Navigating to Channel Types

The Patchbay uses multiple tabs to access different hardware I/O and channel types in the patching grid. For example, the Outputs

tab provides sub-tabs of output channel types for you to patch these different outputs independently.

Examples

To show output channels:

 Go to the Patchbay page and select the Outputs tab.

To show a specific type of output in the patching grid:

 In the Patchbay page, select the MAINS, MTX (Matrix), GRP, or AUX tabs. Press and hold Shift, then select multiple tabs to

show multiple types at once.

 To show Stage 64 I/O, select Connected Devices (below NETWORK CARDS). To show E6L I/O (such as MADI-192 MADI

Option cards, if any), select MADI-192 below EXPANSION CARDS.

To navigate to a different hardware source:

 Select the appropriate hardware tab across the top of the patching grid.

Visual Indicators and Displays

The Patchbay uses the following visual display conventions in all its tabs and pages.

Available I/O

When I/O is available for patching, the patching grid for the corresponding I/O lights.

Patched I/O

When a hardware connection is patched, its connection is dimmed in all Patchbay screens. This lets you see which hardware con-

nections are in use without having to switch back and forth between Patchbay screens. You can also use the dimmed column num-

ber indicator to jump to the Patchbay page for the existing assignment (for more information, see Shortcut for Locating Assign-

ments).

Unavailable I/O

The Patchbay displays hardware tabs for all possible configurations. For example, if your current configuration includes two Stage

64 I/O racks, three Stage tabs still appear in the Patchbay. Unavailable I/O for unconnected Stage 64 I/O racks and either unavail-

able or reserved Pro Tools I/O is indicated in the patching grid as follows:

Stage I/O

Appears grayed out in the Patchbay under its corresponding hardware tab, and is italicized in all routing pop-up lists.

Pro Tools I/O

When a Pro Tools computer is connected to the S6L control surface, system input channels with Stage inputs as-

signed to them are highlighted in purple under the Pro Tools hardware tabs in the Patchbay. This indicates that the Pro Tools I/O

channels are reserved for use as direct digital splits to Pro Tools (outputs) or Virtual Soundcheck channels (inputs).

Shared I/O

The Patchbay indicates input and output ownership of Stage 64s and Stage 32s using colored text (see

IO Sharing Example).

When a Pro Tools computer is not connected, all Pro Tools I/O is grayed out and unavailable in the Patchbay.

Patchbay 265

Patching Input Sources to Input Channels

You can patch inputs sources to input channels using the Patchbay on the external VENUE software screen.

To patch a single input source to an input channel:

1 On the external screen select Patchbay.

2 Select the Inputs tab.

3 To the left of the patching grid, select the range of input channels yo want to access in the patching grid.

4 Along the top of the patching grid, select a hardware tab to display hardware input sources.

5 Touch in the row for the channel and in the column for the hardware source. Grid squares light when channels are patched.

Channel source information is shown on-screen under the channel name on the external screen Inputs page, and on the MTS and

CTM in Channel view. Channel source information is also shown on the control surface on the Channel Menu Source page in the

channel display.

To assign multiple channels in a single action, do either of the following:

 Touch, hold, and drag vertically, horizontally, or at an angle to assign multiple patch points

in a single action.

 Select the Default Assignment button, and then select Assign in the confirmation dialog to

assign all Stage inputs currently displayed in the channel grid to multiple consecutive input

channels.

Plug-in outputs can also be an input source. See

Routing Plug-Ins as Bus Processors (Effect Send/Return).

The S6L system comes pre-loaded with Demo show files, which offer preset system configurations for some of the most common

mixing scenarios, including pre-patched inputs. See Loading a Show for instructions on loading Show files.

Shift-touch any number of Channel Type and/or hardware tabs to select and display multiple tabs in the patching grid.

A lit grid square showing a hardware input source patched to an input channel

Channel Menu Source page (left) and Inputs page of the external screen (right)

Menu Safe

Mute

AS B

Ch 1:Stage1Analg1

Source

The Default Assignment button

Patchbay 266

Patching Output Channels to Hardware Outputs

Mains, Auxes, Groups and Matrix Mixer outputs can be assigned to any hardware output on the system using the Patchbay. In the

Patchbay, each S6L system component has a corresponding hardware tab that displays the available hardware output destinations,

as follows:

To assign an output channel to a hardware output from the Patchbay:

1 Go to the Patchbay and select the Outputs tab.

2 To the left of the channel grid, select the Mains, Mtx (Matrix), Grp (Groups), or Aux tab to display those output channels in the

grid.

3 Along the top of the channel grid, select a hardware tab to display available hardware output destinations.

4 Touch in the row for the channel and in the column for the hardware destination. Grid squares light when channels are patched.

Channel destination information is shown on-screen under the channel name on the external screen Outputs page, and on the MTS

and CTM in Channel view. Channel destination information is also shown on the control surface on the Channel Menu Destination

page in the channel display.

Hardware Tabs Component Hardware Outputs

Stage 1–6 Stage I/O unit analog and digital outputs

Console S6L control surface analog and digital outputs

Pro Tools Assignable Ethernet AVB outputs to Pro Tools (see the S6L Live Recording Guide.pdf for

more information).

Mains patched to a Stage 64 hardware output

Channel Menu Source page (left) and Inputs page of the external screen (right)

Menu Safe

Mute

AS B

Left:Stage1Analog1

Destination

Patchbay 267

Patching Direct Outputs

Direct Outputs of input channels, Auxes, Groups, Matrix Mixer, and Mains outputs can be assigned to any hardware output or

Pro Tools output using the Patchbay Directs tab. Each hardware output destination may be fed by only one Direct Output signal

(multiple Direct Output signals cannot be routed to a single output). You can choose the pickoff point for each channel’s Direct

Out.

To assign a channel to a Direct Output:

1 Go to the Patchbay page and select the Directs tab.

2 To the left of the channel grid, select the Mains, Mtx (Matrix), Grp (Groups), or Aux tab to display those output channels in the

grid.

3 Along the top of the channel grid, select a hardware tab to display available hardware output destinations.

4 Touch in the row for the channel and in the column for the hardware destination. Grid squares light when channels are patched.

5 Select the pickoff point for the Direct Output by selecting the letter to the right of the channel and choosing from the pop-up

menu. See

Direct Output Pickoff Points.

Assigning a Direct Output in the Patchbay

Selecting a Direct Output pickoff point in the Patchbay

Patchbay 268

Direct Output Pickoff Points

The “pickoff point” is the point in the signal path where the audio signal is picked off the main signal and sent to the Direct Output.

The pickoff points for Direct Output signals are selected in the Directs tab of the Patchbay page. The following pickoff points are

available for each type of channel or bus:

Pickoff points for input channels are configured as pre-or post-fader globally.

Configuring Input Channel Pre-or Post-Fader Pickoff Points

Pickoff points for input channels are configured as pre-or post-fader globally.

To configure the Direct Output pickoff point for Inputs:

1 Go to the Options page and select the Pickoffs tab.

2 Under Input Channel Fader Pickoff Point, select Pre-Fader or Post-Fader.

Unpatching and Clearing Assignments

To unpatch a single channel in the Patchbay:

 Touch a lit square in the patching grid corresponding the channel you want to unpatch

To clear Patchbay Assignments:

1 Select the appropriate I/O tab, Channel Type tab, and Hardware tab.

2 In the top left corner of the patching grid, select the Clear Assignments button, and select Clear in the ensuing dialog. All Patch-

bay assignments for the selected Patchbay pages are cleared.

3 Repeat for other types of I/O as necessary.

Pickoffs for Direct Outs

Channel Type Available Pickoff Points

Input-channels Top of channel

Insert return

Pre-Fader, or Post-Fader (configured globally in Options > Pickoffs)

Output channels Top of <bus>

Pre-Fader Post-Mute

Post-Fader

To clear all Input, Output, Direct, or Insert assignments, press and hold Shift, then select all Channel Type and Hardware tabs

to select all pages.

The Clear Assignment button

Patchbay 269

Multiple Input and Output Patching

A single hardware input source can be patched to multiple input channels in the Patchbay. An output bus can be patched to multiple

hardware outputs.

To assign a hardware input source to multiple input channels:

1 Go to the Patchbay page and select the Inputs tab.

2 Patch the input source for the first input channel.

3 Select additional grid squares in the same column to assign the source to additional channels so they are lit. The selected hard-

ware input is patched to each of the assigned input channels.

To patch an Output bus to multiple hardware outputs:

1 Go the appropriate Patchbay page and select the Output tab.

2 Patch assign the desired output channel to the first hardware output.

3 Select additional grid squares in the same row to assign the same output channel to additional hardware outputs. The selected

output channel is assigned to all the assigned hardware outputs. An asterisk (*) appears at the end of the displayed destination

to indicate the multiple routing.

Multiple input sources cannot be assigned to a single input channel.

A hardware input routed to multiple input channels

Mains Left patched to multiple hardware outputs

Patchbay 270

Warning When Stealing Inputs or Outputs in the Patchbay

The Patchbay indicates hardware outputs that are already in use by dimming the column number for that physical output. In addi-

tion, a dialog is shown if the patch will steal a hardware input or output that is already in use, asking you to confirm or cancel the

reassignment.

To confirm a reassignment, do one of the following:

 Select Assign when prompted to confirm the reassignment.

– or –

 Select again on the same patch point.

To cancel a reassignment, do either of the following:

 Select Cancel to leave the patchpoint unchanged.

 Select any other point in the grid (the Patchbay grid remains active, even when the Confirm Assignment dialog is open

on-screen).

Shortcut for Locating Assignments

Before reassigning in the Patchbay, you may want to double-check the existing assignment to the desired hardware output. This can

be done quickly from within the Patchbay.

To identify the bus or channels currently assigned to a hardware output:

 Select any dimmed (already assigned) column number at the top of the Patchbay. The Outputs page containing the assignment

is automatically revealed in the patching grid.

Naming Channels from the Patchbay

Channel names can be changed from the Patchbay. Channel names can be up to 32 characters in length. When shown in the displays

on the S6L control surface, channel names are abbreviated to fit the displays.

To name or rename a channel from the Patchbay:

1 Double-tap the channel name at the top of the screen or in the column of the grid.

2 Type a new name and press Enter on the computer keyboard.

If you repatch a hardware input to a different channel, Input gain, pad and phantom power move with the hardware input, re-

placing those settings on the destination channel. This occurs when repatching manually (in the Patchbay) or via a snapshot.

Warning when reassigning an output that is already in use

To suppress the reassignment warning dialog, hold Default (on the S6L control surface) or Alt (keyboard) while selecting in the

patch grid to change the assignment.

When naming channels from the columns of the grid, press Tab on the keyboard to go to the next channel; press and hold the

Shift key and Tab to go to the previous channel.

Patchbay 271

Type Text Search

Type Text search lets you use the keyboard for fast navigation to a channel. You can enter the first characters of a channel name

or the absolute channel number to target that channel.

To search for and select a channel:

1 Type the first few letters, full name, or channel number of the channel. For example, type “s” to go to the first channel beginning

with the letter s (such as Snare).

2 Press the Tab key to cycle through and select any other channels beginning with that letter (such as Snare Top, Snare Bottom, or

Strings).

Patch List Export

The Patchbay Export generates a patch list in an easily readable format.

To export Patchbay information:

1 Insert a USB storage device into any USB port on the S6L control surface.

2 Go to the Patchbay page and select the Export button.

3 Do any of the following:

• If you have more than one USB device connected, make sure the correct USB one is selected. If it is not, select Next Disk to

cycle through until the correct one is selected.

•Select

Save to export info to the selected USB device (or select Cancel to dismiss the dialog without exporting).

4 Select OK to confirm the export procedure. You can now remove the USB device and transfer the exported file to a personal

computer for printing, formatting, and distribution.

Contents of Exported Patchbay Information

Exported Patchbay information is saved as an HTML file, and the file name includes the date and time of the export. Contents in-

clude the following:

VENUE Patch List

Show

Name, file path, date and time of Show file.

Input and Output Patching (Stage, Console, and Pro Tools)

Stage I/O

Hardware input and output numbers and the channel numbers or names are shown for each Stage I/O unit.

Console I/O

Hardware input/output types and numbers, and channel patch are shown.

Local I/O

Hardware input/output types and numbers, and channel patch are shown for each Local 16.

Pro Tools I/O

Pro Tools input and output channel numbers and channel patch are shown.

• Unavailable channels are labeled N/A.

• Direct outs are identified uniquely.

Avoid giving channels names that begin with numbers different from the absolute channel number. When you type a number,

VENUE navigates to absolute channel numbers regardless of the channel name.

Patchbay Export Information button

When exporting a Patch list from the Standalone software, the generated HTML file is automatically opened using your default

Internet browser (such as Internet Explorer, Mozilla Firefox or other).

Plug-Ins 272

Plug-Ins

This chapter explains how to configure plug-ins before a performance, and how to use plug-ins during a performance. Plug-Ins can

be inserted on all channels and bus outputs, or used as bus processors for effects such as reverb and delay.

When a

WSG-HD Waves SoundGrid Option Card and Waves Plug-Ins are installed in an E6L engine, Waves SoundGrid

plug-ins can be integrated directly into your VENUE mixes just like other VENUE plug-ins.

Plug-Ins Quick Start

Before a performance, enable Config mode and do any of the following:

• Install plug-ins (see

Installing and Authorizing Plug-Ins).

• Assign plug-ins to racks and rack slots (see

Plug-In Racks).

• Assign plug-in input and output routing, including sidechain routing (see

Routing Plug-Ins).

• View and adjust plug-ins from the S6L control surface or on-screen (see

Adjusting Plug-Ins on the External Screen).

• Save and load plug-in settings as Presets, or with snapshots (see

Plug-In Presets and Snapshots).

During a performance, do all of the following:

• Enable Show mode to “safe” (lock out) plug-in rack assignments and other plug-in rack operations that could interrupt a perfor-

mance.

• Patch channels and buses to available plug-ins, re-assign plug-in routing, or re-assign existing side-chain routing.

• Adjust plug-in parameters from Channel Control, Global Control, or on-screen.

• Save and load plug-in settings as Presets, or within snapshots.

Using Config and Show Modes for Plug-Ins

The current system mode status (Config or Show mode) determines which plug-in functions are available.

Config mode is required to install plug-ins, assign them to rack slots, and to establish side-chain routing. When in Show mode, any

operations that might interrupt audio throughput are locked out and unavailable.

S6L systems support 64-bit AAX DSP plug-ins only. For complete information on S6L-compatible plug-ins, visit the Avid website

(

www.avid.com).

Plug-In actions that interrupt audio require Config mode. For more information, see Enabling Config Mode.

Plug-Ins 273

Installing and Authorizing Plug-Ins

Plug-Ins are installed on your system using a USB drive. Plug-in installers are transferred to your USB drive, then installed on the

S6L control surface. For Waves plug-ins, see

Transferring Plug-In Installers to USB

To transfer plug-in installers to a USB drive:

1 Make sure there is enough free space on the USB drive to accommodate all the software.

2 Unzip the downloaded software by doing the following, depending on your computer platform:

Mac

Double-click the ZIP file containing the software to unzip it.

Windows

Right-click the ZIP file containing the software, select Extract All... from the pop-up menu, and in the ensuing dialog

click Extract.

3 In the unzipped files, locate the “AAX Plug-Ins” folder.

4 Copy the entire “AAX Plug-Ins” folder to the top (root) level of the USB drive.

Installing Plug-Ins

To install a plug-in:

1 Put the system into Config mode.

2 Insert the USB drive containing the plug-in installer(s) into an available USB port on the S6L control surface.

3 On the external VENUE software screen, go to the Options page and select the Plug-Ins tab. The following two lists are shown:

Plug-Ins to Install

This list shows available plug-in installers. At the top of the list is the Device selector, which provides a pop-up

menu of available media sources. Plug-In installers are stored locally after plug-in installation, and appear as available items when

Previous Installs is selected from the Device selector. This lets you re-install plug-ins without the original plug-in installer.

Installed Plug-Ins

This list shows all plug-ins already installed on the system. The plug-ins shown in plain text are available to pro-

cess audio. Plug-Ins listed in italics are disabled and unavailable (see Enabling and Disabling Installed Plug-Ins).

Because installing plug-ins can interrupt audio throughput, always install plug-ins before a performance.

Plug-Ins cannot be installed using the USB ports on the E6L engine.

Options > Plug-Ins screen

Plug-Ins 274

4 In the Plug-Ins to Install list, select the device selector pop-up menu and do one of the following:

• Choose Previous Installs to access any plug-in installers after a system update.

• Choose Console to access all factory-installed plug-in installers after a system update or a full system restore.

• Choose an external storage device, as available, to access plug-in installers on drives connected to the S6L control surface.

5 Select a plug-in from the Plug-Ins to Install list on the left by doing any of the following:

• Select a single installer so it is highlighted.

• Shift-touch to select multiple consecutive installers.

• Control-touch to select or deselect installers one at a time.

6 Select Install to install the selected plug.

7 When prompted, select Accept to accept the End User License Agreement (EULA) for the plug-in. The EULA for each plug-in

installed must be during installation accepted.

Once installed, the plug-in appears in the Installed Plug-Ins list on the right.

8 Repeat as necessary to re-install all plug-ins needed on the system.

Uninstalling Plug-Ins

Uninstalling a plug-in removes the plug-in from the racks but the installer remains in the Previous Installs cache, making it easier

to reinstall the plug-in at a later time without requiring the installer media.

The list of available plug-ins you see in VENUE software is updated automatically each time you load a Show file to keep plug-in

lists and menus uncluttered (see

Automatically Removing Plug-ins During Show Load.)

You can also remove or delete plug-ins and/or their installers manually. In order to completely remove and delete a plug-in and its

installer, you must explicitly delete the plug-in, as described in the following sections.

To uninstall a plug-in from the system but leave its installer available:

1 Put the system in Config mode.

2 Go to Options > Plug-Ins.

3 Touch-and-hold (right-click) the specific plug-in name from the right-hand list and choose the Uninstall option for the selected

plug-in.

Device selector pop-up menu

Plug-Ins Install button

Installing, uninstalling, and deleting plug-ins are not supported using the Standalone software.

Disable/Uninstall plug-in menu

Plug-Ins 275

To reinstall a removed plug-in:

1 Put the system in Config mode.

2 Go to Options > Plug-Ins.

3 Select the Device selector and choose Previous Installs from the menu.

4 Select the plug-in and choose Install. If the desired plug-in is not listed, it must be re-installed from a USB drive containing its

installer.

Deleting Uninstalled Plug-Ins

Once a plug-in is uninstalled, its installer can be deleted from the system. (Plug-ins which are currently installed cannot be deleted).

To completely remove a plug-in and its installer:

1 Put the system in Config mode.

2 Go to Options > Plug-Ins.

3 Select Previous Installs from the Device selector.

4 Touch-and-hold (right-click) the plug-in name and choose the Delete option for the selected plug-ins. The plug-in is removed

from the system, and the stored plug-in installer is removed from the Previous Installs list.

Installing Plug-Ins Manually

If a plug-in does not appear in the Plug-Ins to Install list, it may not have a fully compatible VENUE installer and must be manually

installed. This is required the first time you install the plug-in, and whenever you need to re-install a plug-in (such as after using

the System Restore software to update or reset the system).

To install a plug-in manually:

1 Make sure all sound systems are shut down or muted.

2 Insert the USB storage device with the plug-in installer into a USB port on the S6L control surface.

3 Go to the Options page and select the System tab.

4 Hold the Ctrl key and select Shutdown. Follow thee on-screen directions to exit to the Desktop.

5 Copy the plug-in installer to the disk partition called User Data.

6 Launch the plug-in installer application and follow any on-screen directions. If prompted, do not restart the system from a

plug-in installer. (Doing so will not harm the system, but will take longer, especially if you have multiple plug-ins to install man-

ually.)

7 Quit the installer application and eject the installer disc.

8 Select the Return to VENUE shortcut on the desktop to re-launch the VENUE software.

9 Go to Options > Plug-Ins. Verify that the manually installed plug-in appears in the Console list of available plug-ins.

Authorizing Plug-Ins

A core set of plug-ins are installed on your system. These plug-ins do not require any authorization. Other plug-ins, such as the S6L

plug-ins downloaded from your Avid account and paid plug-ins from Avid and our Development Partners, require authorization.

The S6L system supports iLok USB Smart Key authorization. Licenses that authorize the use of a plug-in are transfered from your

iLok account to your iLok. This lets you take your iLok and your plug-in licenses anywhere, to use your plug-ins on any system.

After installing a plug-in, the system re-creates the list of available plug-ins. Whenever the racks initialize, the system checks for

all installed plug-ins. If an iLok with a license for an installed plug-in is not connected to the S6L control surface, you will be

prompted to try a demo version, or authorize the full version of the plug-in.

A plug-in without a VENUE installer may still be compatible. Consult the plug-in manufacturer for compatibility information.

Plug-Ins 276

To authorize a plug-in:

1 When a plug-in authorization dialog appears, do one of the following:

• To try a demo of the plug-in, select Try, where available.

– or –

• To have the system recognize the required license on your iLok, select Authorize. Insert your iLok into any available USB port

on the S6L control surface when prompted.

2 Follow the instructions on-screen to complete the software authorization process.

Enabling and Disabling Installed Plug-Ins

The Installed Plug-Ins list shows Disabled plug-ins in italics. Plug-Ins can be manually disabled and enabled to manage DSP re-

sources, troubleshoot possible conflicts, and to manage plug-in availability.

To globally disable or enable a plug-in:

1 Select the plug-in name in the Installed Plug-Ins list, at the right of the Options > Plug-Ins page.

2 Touch-and-hold (right-click) the plug-in and select whether to disable or enable the selected plug-in. If assigned to any rack

slots, the plug-in will be displayed as unavailable and inactive.

Automatically Removing Plug-ins During Show Load

Plug-ins are verified during the Show file load procedure to streamline plug-in lists and menus by automatically removing unused

plug-ins (plug-ins that were once installed but subsequently uninstalled or disabled).

In addition, the plug-in lists can be reset manually using the Remove Unavailable Plug-ins command. Plug-ins which are not

available and not in use in the rack are automatically filtered from all plug-in menu lists when the show file is subsequently stored.

This filtered list is stored with the Show file.

Plug-ins which are not available but are in use will remain in the rack and display a warning icon indicating the plug-in isn’t in-

stalled or is disabled. Such plug-ins appear as italicized entries in the plug-ins menu lists.

Manually Removing Unavailable Plug-ins from the Racks

Unavailable plug-ins can be easily removed from rack slots using the Remove Unavailable Plug-Ins command.

To manually remove unavailable plug-ins:

1 Put the system in Config mode. Make sure the plug-in rack is fully initialized (the Status indicator displays OK).

2 Select the Plug-In Selector in any rack slot and choose Remove Unavailable Plug-Ins. This menu item is only available when

one or more unavailable plug-ins are present in the rack (indicated by a warning symbol in the rack slot).

3 Select Remove to confirm the operation, or select Cancel.

If you proceed with the removal:

• All unavailable plug-ins are removed from the plug-ins rack.

• The italicized entries for unavailable plug-ins are removed from all plug-in menu lists.

• All references to unavailable plug-ins are removed from the Insert Processing section of all affected channels, and the insert

point plug-in is set to

None.

• All references to unavailable plug-ins are removed from all snapshots.

The new, updated list of available plug-ins is subsequently saved to the Show file.

History File and Removing Plug-ins

A History file is written immediately before removing unavailable plug-ins from the rack, in order to provide a means of undoing

the operation.

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Plug-in Version Checker

VENUE software includes a comprehensive database of plug-in information, and this info can be used to greatly simplify the pro-

cess of managing your VENUE plug-ins.

Use this feature to get version details and compatibility information for a plug-in prior to installing, or after it has been installed to

help diagnose or troubleshoot plug-in performance.

Version checking also warns you when you are about to downgrade a plug-in (install an older version over a newer version).

To view plug-in version information:

1 Go to Options > Plug-Ins.

2 Select a plug-in from either list (Plug-Ins to Install, or Installed Plug-Ins).

The Info pane displays details about the currently selected plug-in, including whether a newer version of the plug-in is available.

If a new version is available, you can find out whether it is a recommended update or a critical update. The following dialogs appear

if you choose to install older plug-ins:

• If you choose to install a plug-in for which there is a critical or recommended update, a dialog appears asking you to confirm the

installation procedure.

• A similar dialog appears when attempting to replace an installed plug-in with an older version of the same plug-in. Follow the

instructions on-screen to install anyway, or cancel.

Using System Info to View Plug-in Version Information

Plug-in version information is included in exported System Info data.

The Plug-in sections of the exported System Info file show critical and recommended updates, with links to sites to download or

check for newer versions.

To use System Info for Plug-In Version Maintenance:

1 Insert a USB storage device into any available USB port on the S6L control surface engine.

2 Go to Options > System.

3 Select the Info button.

4 Do any of the following:

• If you have more than one USB device connected, make sure the correct USB device is selected. If it is not, select Next Disk

to cycle through each available disk until the correct one is selected.

•Select Save to proceed and export system info to the selected USB device.

•Select Cancel to dismiss the dialog without exporting.

5 Select OK to confirm the export procedure.

6 Remove the USB device. Transfer the exported file to a personal computer for printing, formatting, archiving or distribution.

7 If viewing the System Info document from a computer with Internet access, use the included links to check for plug-in updates.

In addition to using the plug-in version checker, also check

the VENUE plug-in tabs on the Avid website (www.avid.com)

for the most up to date information

Version information is not shown for a multi-selection. Select

an individual plug-in to view its version information.

Plug-Ins 278

Plug-In Racks

The Plug-Ins page provides five plug-in racks. Each of the racks has slots into which you can load a plug-in. The different racks

can be viewed all at once, individually, and in varying zoom levels. You populate the racks by assigning plug-ins in rack slots.

The number of racks and slots vary with different S6L systems.

Naming Plug-In Racks

You can name and rename each rack as needed.

To rename a plug-in rack:

1 Double-tap the rack name to highlight it on-screen.

2 Type a new name and press Enter. To return a rack to its default name, leave the name blank and press Enter.

Rack Views

The Plug-Ins page can be displayed in Full or Zoom views. Either view can show a Collapsed view of 10 rack slots.

Full View

The default view of the rack screen is Full view, in which five racks are shown at a time. This screen provides access to all rack slot

controls and shows an icon representing each assigned plug-in. This lets you quickly see what plug-ins are available, and adjust

their routing.

Plug-In racks (1) and rack slots (2), Full view, with custom rack names shown

Plug-Ins can be placed in any rack slot. Use the different racks to organize processing functions such as Dynamics, Vocal FX,

Reverb, or Group Inserts.

Plug-Ins 279

Zoom View (Plug-In View Mode)

In Zoom view, a single rack remains on-screen to the left, and the rest of the screen displays the targeted plug-in.

To toggle Full or Zoom view modes, do one of the following:

 Select the View toggle switch (upper right corner of the rack).

– or –

 Double-tap a plug-in icon in any rack view to open that plug-in window in Zoom view.

Collapsed View

You can collapse the plug-in racks so ten rack slots per row are shown in Full of Zoom view.

To toggle between Expanded or Collapsed rack slot views:

 Select the Expand/Collapse button (upper right corner of the rack).

Zoom view, with a plug-in window open on-screen

View toggle button

Full view, collapsed

Plug-Ins 280

“Jump To” Plug-Ins

You can “jump to” a specific plug-in insert from the Input and Output pages to adjust it on-screen in the Zoom view of the Plug-In

page.

To jump to a plug-in insert from the Inputs or Outputs screen:

1 Select a channel to display it in the Inputs or Outputs screen.

2 Select the plug-in name (or None if no plug-in is inserted in that slot) shown in the channel Inserts section.

To jump to a bus-fed plug-in:

1 Bank to the input channel the plug-in output is assigned to, or bank to the output feeding the plug-in.

2 Attention the channel to display it in the Inputs or Outputs screen.

3 Select the routing displayed beneath the Channel Name.

Plug-Ins Screens and Channel Selection

When jumping to a plug-in, display depends on the type of plug-in routing, as follows:

Channel Inserts

If the Plug-Ins screen is in Zoom view while you attention a channel, the last attentioned plug-in for that channel

is automatically targeted and displayed in the Plug-Ins screen.

Bus-Fed Plug-Ins

If no plug-ins are inserted on a channel (such as when returning a bus-fed plug-in to an input channel), the

plug-in feeding that input channel is displayed.

Jumping to a plug-in on a channel insert

Jumping to a plug-in on a bus

Plug-Ins 281

Pinning a Plug-In View

You can decouple the plug-in view for consistent and constant access to a single plug-in on-screen, while still being able to select

and adjust other plug-ins from the control surface. Pinning a plug-in view is useful any time you want to always display an import-

ant plug-in (such as an analysis plug-in or primary EQ).

To pin a plug-in view:

1 Bring the desired plug-in into the Zoom view (use the channel Select and Insert Mode switches, double-tap the desired plug-in

from the rack, or jump to the plug-in from the Inputs or Outputs page).

2 Select the Push-Pin icon in the upper-right of the screen (the icon is located just to the left of the Presets and View Toggle

icons.

• When enabled, the Push-Pin icon appears lit. This indicates that the current plug-in will remain on-screen and will not lose fo-

cus, even if another channel is targeted.

• When not enabled, the Push-Pin icon appears unlit. Plug-in view follows control surface selections.

Identifying Rack Slots

In the plug-in racks, the slot of the targeted plug-in is bordered in orange.

Push-Pin icon

Targeted plug-in in a rack

Plug-Ins 282

Display of Unavailable or Inactive Plug-Ins

It is possible for a plug-in to be displayed in a rack slot but be unavailable for channel and bus processing. This can occur in any

of the following circumstances:

• There are not enough DSP resources available for the plug-in.

• The assigned plug-in is part of the show file but is not installed on the current system.

• The plug-in has been disabled manually.

Unavailable Plug-Ins

When a plug-in cannot be used because of insufficient DSP resources, because it is disabled, or because it is not installed on the

system, a warning icon is shown in front of the affected plug-in. The plug-in icon is grayed out, and the rack slot Power switch dis-

plays a yellow switch LED.

For more information, see

Installing and Authorizing Plug-Ins.

Scope Indication in the Plug-Ins Page

The Plug-In Rack provides visual indication whenever a plug-in is scoped in the currently targeted snapshot. The Snapshot pop-up

menu turns red whenever that plug-in is scoped by the currently targeted snapshot.

For more information, see Plug-In Presets and Snapshots.

To view DSP resource allocation, see 2 – HDX DSP.

Indication of an unavailable plug-in

Indication of a scoped plug-in

Plug-Ins 283

Rack Slots

Each rack provides ten plug-in slots. You can assign any installed plug-in to any available rack slot.

Rack Slot Controls

Each rack slot provides the following controls to select and manage plug-ins:

1 – Power (Config Mode Only)

Power turns the rack slot on or off. When off, the plug-in consumes no DSP.

2 – In/Out (Bypass)

The In/Out switch takes the rack slot in or out of circuit (bypasses the slot and any plug-in assigned to it).

3 – Input Selector

The Input selector displays a menu of input sources for a plug-in. Use this to designate the plug-in as a channel insert or a bus pro-

cessor by choosing from the Inserts or Bus sub-menus. For more information, see Routing Plug-Ins.

Once a plug-in has been routed, its input source is displayed in the Input area of each rack slot, as follows:

• If the plug-in is being used as an insert, the channel or bus name and number is shown, for example, Kick (Ch 1) or Aux (1–2).

The Channel Insert/Bus Output selector automatically switches to Channel Insert mode, showing the insert point occupied by

the plug-in.

• If the plug-in is on a bus, the selected bus source is shown in the Input selector, for example, Aux 1 or Grp 1. The Channel In-

sert/Bus Output selector can be used to assign the output routing of the plug-in to a channel or bus.

4 – Channel Insert or Output Selector

The Channel Insert/Output selector displays different choices depending on whether the plug-in is being used as a channel insert,

or as a bus processor, as follows:

• If the plug-in is being used as a channel insert, the Channel Insert Selector shows the four insert points on that channel (1–4).

The letter “I” is shown before the insert number (for example, I–1 indicates the current plug-in is inserted into the first insert

position on its channel).

• If the plug-in is being used as a bus processor, the selector is an Output selector, used to select the destination for plug-in out-

put,. When the plug-in is routed, the selector shows the channel to which the plug-in output is assigned.

A rack slot and its controls, with an assigned plug-in shown

A rack slot shown an inserted mono plug-in (left) and a stereo plug-in assigned as a bus processor (right)

Plug-Ins 284

5 – Plug-In Selector

The Plug-In selector displays a list of available plug-ins to load into that rack slot. Plug-Ins are arranged by process type (such as

EQ, Dynamics, and Delay). For more information, see

Routing Plug-Ins.

6 – Snapshots Menu

The Snapshots menu provides tools to manage snapshot-related plug-in features from within the Plug-Ins screen. Using the Snap-

shots menu, you can quickly check to see which existing snapshots refer to the current plug-in, as well as create, update, or remove

snapshots.

Sidechain Selector

The Sidechain selector appears near the top of the Zoom view when you select a plug-in that supports side-chain or “key” input.

In Config mode, the Sidechain selector lets you establish a side-chain routing to the plug-in. Once established, you can route and

re-route side-chain signals in both Config and Show mode. For more information about side-chain signals, see

Sidechain Routing.

Assigning Plug-Ins to Rack Slots

Before a plug-in can be used to process audio, it must be assigned to a rack slot. Once assigned, you can use the plug-in as a channel

insert or bus processor.

To assign a plug-in:

1 Put the system into Config mode.

2 Go to the Plug-Ins page.

3 Select the Plug-In Selector on an empty rack slot. (You can also use an already assigned rack slot to change a plug-in assign-

ment.).

4 Choose an available plug-in from the Plug-In selector sub-menus. Only plug-ins that are installed will be available.

If the plug-in is not installed or there are insufficient DSP resources available, the plug-in will appear as unavailable, or inactive.

Before a plug-in can be assigned, it must be installed. See

In-

stalling and Authorizing Plug-Ins.

The Plug-In selector

Plug-In selector menus

Place the cursor over the plug-in to display a Tool Tip that explains why the plug-in is unavailable or inactive.

Plug-Ins 285

Plug-In Formats (Mono/Stereo)

Plug-Ins inserted on input channels must be symmetrical (in other words, mono in/out or stereo in/out). Plug-Ins on buses can be

asymmetrical (mono-in/stereo or multichannel out).

Mono

Can be used as inserts only in mono strips or mono Auxes, mono Groups, or Matrix buses or on the C/M bus.

Stereo

Can be used as inserts in stereo strips, stereo-linked Auxes, and stereo Groups.

Other (Mono In/Stereo Out)

Can be used on buses for delay, reverb, and similar processing.

Moving and Copying Plug-Ins

(Config Mode Only)

To move or copy a plug-in from the rack, drag the plug-in icon to a new rack slot. A pop-up menu appears offering two choices:

Copy Plug-In Here, or Move Plug-In Here.

Moving a Plug-In

When you move a plug-in from one rack slot to another, the plug-in type, in/out state, power on/off, current plug-in settings, and

routing are maintained. In addition, all associated snapshots are updated to reflect the new rack position.

Copying a Plug-In

When you copy a plug-in to a new rack slot, the source plug-in type, in-circuit state, active state, and current plug-in settings are

copied to the destination rack slot. However, the source plug-in routing is not copied. In addition, plug-in snapshots are not copied.

Overwriting An Existing Plug-In

When either moving or copying, if there is an existing plug-in located in the destination rack slot, that plug-in is deleted. When the

plug-in located in the destination rack is deleted, any routing or references in existing snapshots to the deleted plug-in will be au-

tomatically cleared.

Activating and Deactivating Plug-Ins

To activate and deactivate a plug-in:

 Select the appropriate rack slot Power switch. When active, the Power switch lights green. When a plug-in is unavailable (and

inactive), the Power switch lights yellow.

Rack slot power switch

Plug-Ins 286

Routing Plug-Ins

After a plug-in has been assigned to a rack slot, you can specify its routing. Plug-In routing determines whether the plug-in is used

as a channel insert or as a bus processor.

Inserting Plug-Ins on Channels

Four slots per channel are provided for plug-in inserts. Signal from the channel is routed to the insert and returned to the same chan-

nel. You can assign plug-ins to specific channel insert points from the Plug-Ins screen or from the Input screen.

To insert a plug-in on a channel from the Inputs or Outputs page:

1 Go to the Inputs or Outputs page.

2 Select the first available Inserts slot selector.

3 Choose an available plug-in from the rack sub-menus. All currently available plug-ins of a compatible mono/stereo format are

listed in the sub-menus. Plug-Ins that are unavailable are listed in italics. Plug-Ins that are currently inserted on other channels

are shown with their insert assignment.

4 The plug-in appears in the Inserts list for that channel.

5 To open the window for an inserted plug-in, select its name in the channel Inserts list.

The Inserts selector

Plug-in rack sub-menus

An assigned channel insert

Plug-Ins 287

To insert a plug-in on a channel from the Plug-Ins page:

1 Make sure the plug-in is already assigned to a rack slot. (See

Assigning Plug-Ins to Rack Slots.)

2 In the rack slot, select the Input selector and choose a channel from the Inserts sub-menus.

The rack slot automatically identifies and connects to the first available insert slot on the selected channel. The Channel Insert se-

lector shows the current insert position. In the figure below,

I-1 indicates the plug-in is in the first insert Inserts slot of channel 1.

If no insert slots are available on the channel, the selector displays a question mark.

Inserts sub-menus

Channel Insert menu

Plug-Ins 288

Routing Plug-Ins as Bus Processors (Effect Send/Return)

Plug-Ins can be used on buses for send-and-return processing with effects such as reverb and delay. A plug-in is configured for bus

processing by assigning an Aux, Group, Matrix, Main, Monitor output, or a Direct Out as the plug-in input source, then assigning

the output of the plug-in to an input channel, or to a hardware output, as follows:

• Return bus-fed plug-ins to an input channel to establish an effects send-and-return path.

• Route bus-fed plug-ins to a hardware output for specialized processing needs (such as feeding an external crossover).

You assign plug-ins for bus processing from the Plug-Ins screen.

To use a plug-in as a bus processor:

1 Go to the Plug-Ins page.

2 Make sure the plug-in is installed and assigned to a rack slot.

3 Select the Input selector at the top of the corresponding rack slot, choose Bus Outs, then choose the desired output bus from the

sub-menus.

4 Select the Plug-In Output selector and choose an input channel or a hardware output. Depending on the plug-in's output format

(mono/stereo), available channels are lit (available for assignment) or unlit (unavailable for assignment) depending on their for-

mat.

When a bus-fed plug-in has both its input source and output assigned, it appears similar to the following in the rack:

Input selector and sub-menus

Assigning plug-in output to an input channel

When routing a plug-in with a stereo output to an input channel, make sure the input channel is a stereo channel. See

Make Se-

lected Mono Strips Stereo/Make Selected Stereo Strip Mono.

An assigned bus-fed plug-in shown in the rack

Plug-Ins 289

Routing Channel Direct Outs to Plug-Ins

You can route the Direct Outs to plug-ins. This lets you directly feed plug-ins from individual channels to preserve Aux buses for

other uses, with control over send level using the channel Direct Out level control.

When a channel Direct Out is routed to a plug-in, it follows the pickoff setting for that specific Direct Out (as set in the Patchbay),

and is applied in addition to any other assignment made for that Direct Out. This makes it possible to use a channel’s Direct Out

to route that channel to both a Pro Tools recording option and to a plug-in.

Sidechain Routing

S6L supports sidechain (key) processing for plug-ins that support sidechain triggering. The Sidechain selectors appear across the

top of the Plug-Ins page in Zoom view for the targeted plug-in.

To assign side-chain routing to a plug-in:

1 Target a plug-in that supports sidechain processing in Zoom view of the plug-in.

2 Choose the side-chain source signal from the Key Source pop-up menu.

3 Choose the pickoff point (tap) for the side-chain signal from the Source Pickoff pop-up menu.

Assigning a channel Direct Out as a plug-in input source in the Plug-Ins page

If you do use a Direct Out to feed both a hardware output such as a Pro Tools recording option as well as a plug-in, be aware

that any adjustments to that Direct Out affect both the output signal and the signal fed to the plug-in.

Sidechain controls

Side-chain routing is not stored in snapshots.

Plug-Ins 290

Adjusting Plug-Ins on the External Screen

You can adjust plug-ins on the Plug-Ins page.

To adjust a plug-in on-screen:

1 Attention a channel.

2 Go to the Plug-Ins page.

3 Double-tap a plug-in icon in any rack view to open that plug-in window in Zoom view.

4 Adjust the parameters for the plug-in appearing in the window as desired.

Bypassing Plug-Ins

Plug-Ins can be bypassed on-screen in the Inputs or Outputs page and from the Plug-Ins page.

To toggle a plug-in on/off (in/out of circuit):

1 Select the channel on which the plug-in is inserted.

2 Go to the Inputs page and select the in/out button next to the desired plug-in to toggle it in/out of circuit. When the button LED

lights, it indicates that the plug-in is in-circuit. When unlit, the plug-in is out-of-circuit (bypassed).

You can also adjust plug-ins using the CKMs in Channel Control mode. See

Adjusting Plug-Ins on the Control Surface

for more information.

An engaged plug-in (top) and a disengaged plug-in (bottom)

Plug-Ins 291

Plug-In Presets and Snapshots

You can save and load plug-in Presets files to import, export, and transfer plug-in settings files.

Snapshots can also be used to automate changes to plug-in routing and settings.

Plug-Ins and Presets

Presets are files that you can create to save, load, archive and transfer custom plug-in settings. You can then create your own Preset

folders to organize Preset files. Preset folders and files can be transferred using the Filing page.

To create a custom Presets folder:

1 Go to the Filing page and select the Transfer tab.

2 Select the Preset Folders icon.

3 Select the New button at the left of the screen.

4 Do one of the following:

• To leave the folder at its default name, press Enter.

– or –

• Type a new name and press Enter.

To save a Preset:

1 Adjust the plug-in parameters as desired.

2 On the Plug-Ins page, select the Presets icon.

3 In the Presets window, select New.

4 Enter a custom name for the Preset.

To load a Preset into a plug-in:

1 Make sure the presets are already transferred and available on the current system. (Many plug-ins come with factory presets that

will be installed along with the plug-in.)

2 Select the channel containing the plug-in, and target the desired plug-in.

3 Select the Presets icon in the Plug-Ins screen.

4 Select a preset name in the Presets list to preview it. With the Presets list displayed, do any of the following:

• To scroll through the list, press Up or Down arrow keys on your computer keyboard.

• To load a preset and close the Presets list, double-tap a name in the Presets list.

•Select

Cancel to close the Presets list without changing settings.

Presets can be applied to multiple Shows, while snapshots apply only to the Show file in which they are stored.

Plug-In Presets icon

Plug-Ins 292

Plug-Ins in Snapshots

Snapshots can automate plug-in settings, including routing, and in/out state. (Side-chain routing is not supported in Snapshots.)

Snapshots can also store and recall Tempo.

Each rack slot on the Plug-Ins page provides a Snapshot menu, with shortcuts for common snapshot-related tasks:

• Create a new snapshot

• Add one or more plug-ins to the MIDI/Plug-Ins list, and automatically re-scope the snapshot to include plug-ins.

• Remove plug-ins from one or more snapshots

Snapshots Containing this Plug-In

Lists all currently loaded snapshots referencing the plug-in, in sequential order. Choose a snap-

shot to load it. (This menu option is useful for targeting snapshots while editing plug-in racks.)

Create New Snapshot Containing this Plug-In

Adds a new snapshot to the snapshot list in which only plug-ins are scoped. This

snapshot is inserted immediately after the currently targeted snapshot, which may not necessarily be the last snapshot. The snapshot

is named to reflect the plug-in rack position, for example: “PI 1-1: Reverb One” is a Reverb One plug-in assigned to rack 1, slot 1.

Add (or Update) this Plug-In to Snapshot

Adds a plug-in reference, with current settings, if the currently targeted snapshot does

not already reference this plug-in. If the currently targeted snapshot already references this plug-in, the choice is Update (see next).

If multiple snapshots are selected, this command changes to “Add Plug-In to Selected Snapshots” for batch-assignment.

Update this Plug-In in Snapshots

Updates snapshots with current settings, if the currently targeted snapshot (or currently selected

snapshots) already references this plug-in.

Remove this Plug-In in Snapshot

Removes reference to this plug-in from the currently targeted snapshot, or from all currently se-

lected snapshots.

Tempo Settings in Snapshots

Each snapshot can store a custom tempo value. You can use the Tempo Enable icon to enable or disable tempo recall when the as-

sociated snapshot is recalled, letting you automate delay times in plug-ins that support Tempo Sync. See

Adding Tempo Data to

Snapshots.

Plug-In DSP Usage

Plug-Ins utilize DSP resources when they are assigned to a rack slot, and that rack slot is powered on. Each HDX DSP card installed

in an E6L engine provides 18 DSPs for plug-in processing.

Plug-In availability is limited to available DSP resources. Certain plug-ins use more DSP resources than others. You may not be

able to instantiate a plug-in if there are not enough DSP resources available. You can turn off unused plug-ins to reclaim their DSP

by making them inactive, or by removing them from the system.

You can view plug-in DSP usage on the Options > Devices page.

To view plug-in DSP usage:

1 On the external screen, go to Options > Devices.

2 In the HDX DSP section, select a tab 1–4 to view currently active plug-ins and the DSPs they are allocated to on the correspond-

ing HDX TDM Mix Engine card.

Snapshots do not store or recall Presets. Snapshots store plug-in settings as they were when the Snapshot was created or saved.

See

Adding Plug-In Data to Snapshots.

Plug-Ins 293

Plug-In Levels

Meter levels on the S6L system are displayed in dBVU, with 0 dBVU =+4dBu analog out = –20dBFS.

Internally, the S6L system provides up to 32-bit processing for built-in EQ, dynamics, and plug-ins, with level matching circuitry

and logic ensuring maximum fidelity and sonic performance throughout the entire signal path. Due to variances in how plug-in me-

tering is implemented by different manufacturers, performance may vary with regard to plug-in gain reduction meters and their rel-

ative levels.

When using side-chain routing, be aware of potential level differences between input channel pickoff points. For more information,

see

Sidechain.

Plug-In Latency and Processing Delay

Plug-In latency includes processing delay of the plug-in itself plus routing delay, as follows:

• Instance delay: 2 samples per plug-in

• DSP routing delay: 3 samples

Viewing Plug-In Latency

Cumulative channel processing delay can be viewed by touching-and-holding (right-clicking) the Inserts area of the selected chan-

nel. The cumulative delay includes latency reported by all inserted plug-ins, signal routing and the known hardware insert delay,

if applicable.

Individual plug-In processing delay can be seen by touching-and-holding (right-clicking) the plug-in icon in the rack. Use the num-

ber reported when calculating latency for manual delay compensation.

Examples

If there is only one plug-in on a channel, the total delay will be the amount of plug-in latency + 2 + 3. (2 samples for the one plug-in

instance, plus 3 samples for the DSP routing to the racks and back.)

If you have two plug-ins on a channel or bus, the delay will be plug-in #1 latency + 2 + plug-in #2 latency + 2 + 3. If plug-in #1

has 12 samples of latency, and plug-in #2 has 15, total latency will be 34 samples (12 + 2 + 15 + 2 + 3).

Initializing the Plug-In Racks

The racks are initialized (or re-initialized) whenever the system is first powered on, whenever the system is restarted, after install-

ing a plug-in, and after disabling or re-enabling a plug-in.

While the racks are initializing, they are offline and do not process audio. Avoid performing any Filing or Transfer functions until

the racks are finished initializing. Rack status is displayed on-screen in the banner display.

Cumulative process delay

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Tap Tempo for Plug-ins

Tap Tempo lets you quickly establish a system tempo to use as a beat clock for delay and echo plug-ins that support Tempo Sync.

The system tempo defaults to 120 BPM (beats per minute). You can set a custom tempo in a number of ways including by tapping

a Function switch, Footswitch or other control as explained below. The system tempo is stored as a console setting within the Show

file. Snapshots can also store and recall tempo.

Using Tap Tempo

To use Tap Tempo, first enable the system tempo, create a Tap Tempo event, then enable tempo sync on the delay or echo plug-in.

Enable the System Tempo

To enable the System Tempo:

1 Go to Options > Misc and locate the Tap Tempo section.

2 Turn on global tempo sync for the system by selecting the On switch directly below the Tempo encoder so that it lights (on).

3 If desired, select the Units selector to choose Beats Per Minute (BPM) or Milliseconds as the units for displayed values.

Enable Plug-in Tempo Sync and Start Tapping

To enable tempo sync on the plug-in:

1 Navigate to a delay plug-in and enable its tempo sync button. Repeat for other delay plug-ins you want to sync.

2 Tap the assigned Tap Tempo trigger (Function switch or Footswitch) in time with the music. At least two taps are needed to set

the tempo; additional taps can result in a more accurate tempo setting.

The delay time of all Tempo Sync-enabled plug-ins change to match the system tempo. While tapping, the calculated tempo is also

shown in the Status area of the screen.

Tap Tempo options

Tempo Sync button in Mod Delay III

How the tempo sync button is labeled differs depending on the plug-in. See the documentation for the plug-in to located the tempo

sync button.

Plug-Ins 295

Tips for Using Tap Tempo

The plug-in Tempo Sync switch enables/disables that individual plug-in’s delay value from following the system tempo. Use the

individual plug-in Tempo Sync switches to sync one, some or all delay plug-ins.

Tempos can range from 20 BPM (3,000 ms) to 300 BPM (200 ms). Some delay plug-ins offer different time divisions (such as

1/8th, 16th, or dotted) that you can select for variations based on the system tempo. Check your delay plug-ins to see if they support

Tempo Sync and subdivision settings (most, but not all, do).

Snapshots and Tempo Sync

If you need a specific delay time every time a certain snapshot is recalled, store Tempo with snapshots. For details, see Adding

Tempo Data to Snapshots.

WSG-HD Waves SoundGrid Option Card and Waves Plug-Ins

The WSG-HD Waves SoundGrid Option Card from Avid lets you integrate Waves SoundGrid processing directly into your

VENUE | S6L mixes.

Once the WSG-HD Card is installed in your E6L engine, plug-ins hosted on the Waves SoundGrid server appear on the VENUE

Plug-Ins screen inside of the Waves SoundGrid Rack plug-in (up to 8 plug-ins per instance of SoundGrid Rack). Up to two com-

patible Waves SoundGrid servers can be connected simultaneously for redundancy with automatic fail-over.

Setup and Configuration

Installing and configuring Waves software and your WSG-HD card requires the following steps:

• Preparing and Connecting the VENUE System for Waves Installation

• Downloading and Preparing the Waves Installer

• Transferring Licenses

• Installing on S6L System

• Completing the Installation

Preparing and Connecting the VENUE System for Waves Installation

To prepare your S6L system and connect it to the internet:

1 Make sure you have performed a System Restore to install VENUE software version 5.7 or higher on your VENUE system (see

the VENUE S6L Installation Guide.pdf for instructions).

2 Make sure you have installed the WSG-HD Card in your E6L Engine (see the WSG-HD Card Installation guide, included with the

card and available for download from your Avid account).

3 Make sure you have connected the WSG-HD card to your SoundGrid server(s).

4 Make sure you have a USB flash drive (formatted to FAT32) and a Windows computer connected to the internet (to unzip Waves

software and create USB installers).

5 (Optional) If you plan to transfer licenses directly to your S6L control surface, make sure to connect the control surface to the

internet via the ECx port.

At the time of this writing a Windows computer is required to unzip and create installers. Macs with VMWare Fusion, Parallels and

similar are also supported. You can download the installer from a Mac but you must extract it from a Windows computer or from

a Mac running Windows on VMWare Fusion, Parallels, or similar.

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Downloading and Preparing the Waves Installer

To create your installer:

1 Navigate to the download page on waves.com and select SoundGrid Rack for VENUE Installer to download the .zip.

2 Insert your FAT32-formatted USB drive into an available USB port on your Windows computer.

3 Extract the download and place the resulting Waves folder on the root level of your USB drive.

Transferring Licenses

Licenses can be transferred to and stored on either a USB drive, the console, or distributed across both. At minimum, the SoundGrid

Rack for VENUE license must be present on your system to run Waves. In addition:

• Transfer licenses to your USB drive if you want your licenses, including SoundGrid Rack for VENUE, to remain mobile. Stor-

ing licenses on a USB drive also means they will not need to be re-installed onto the S6L system after performing a VENUE

System Restore.

• If your system is going to be used in a festival or similar multi-operator setting, transfer the SoundGrid Rack for VENUE li-

cense to the console to ensure it is available for all operators. Each operator can then bring their own USB drive containing

only the plug-in installers and plug-in licenses needed for their performance.

To transfer the required licenses:

1 Make sure you have registered/activated your Waves plug-in purchases.

2 Do the following:

• To transfer license to your USB drive: On your computer, open Waves Central and log into your account.

• To transfer licenses to S6L: On VENUE, go to Options > Devices, select the WSG-HD card in the Expansion Cards list,

click to display the

Settings tab in the Information section and then click Launch Waves Central. (Make sure your S6L is

connected to the internet as instructed earlier, and that you have installed Waves Central as instructed later in this guide.)

3 Select Licenses/Manage: Licenses.

4 Select Source: My License Cloud.

5 Select Products: SoundGrid Rack for VENUE as well as any plug-in licenses that you want to transfer.

6 Select Destination: your USB drive, or Console.

7 Click Send Licenses.

At the time of this writing a Windows computer is required to unzip and create installers. Macs with VMWare Fusion, Parallels and

similar are also supported. You can download the installer from a Mac but you must extract it from a Windows computer or from

a Mac running Windows on VMWare Fusion, Parallels, or similar.

Placing the folder “Waves” at the root level of a USB drive

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Installing on S6L System

To install components onto your S6L system:

1 Make sure you have installed VENUE software version 5.7 or higher, and that your system is powered on.

2 Install Waves Central by doing the following:

• Connect the USB drive on which you built your Waves installer to an available USB port on the S6L control surface.

• Enable Config mode, navigate to Options > System, then select Update. When prompted to confirm that you want to install

Waves Central, click INSTALL.

• Follow the on-screen instructions to install Waves Central.

•Click Finish.

• When prompted to restart, click OK.

3 Install Waves plug-ins by doing the following:

• After the system restarts, enable Config mode.

• Go to Options > Devices, select the WSG-HD card in the Expansion Cards list, click to display the Settings tab in the In-

formation section and then click Launch Waves Central.

•Select Install.

• Install From: your USB key.

• Choose Products to Install: SoundGrid Rack for VENUE, as well as any plug-ins you want to install.

•Click Install. Wait while the installation completes (it takes several minutes).

• When the message Products from Package were Successfully Installed appears, click OK.

• Close Waves Central.

• Enable Config mode.

• Go to

Options > Plug-Ins, select WaveShell1SoundGridRack-AAX and click Install.

• When installation is finished, restart your S6L system.

4 Set up Inventory by doing the following:

• Enable Config mode.

• Go to Options > Devices, select the WSG-HD card in the Expansion Cards list, click to display the Settings tab in the In-

formation section and then click Show Inventory.

5 Set the Network Port to the Intel port number ending in “LM” (such as Intel(R)82579LM Gigabit Network Connection).

Options > Devices showing Settings for a WAVES-SG card selected in Expansion Card slot 6

Selecting a network port

Plug-Ins 298

6 Select the Avid WSG-HD card as IO device.

7 Select your Server device.

8 Select Redundant Server if applicable.

9 If necessary, update WSG-HD firmware and Server firmware by clicking the FW icon. The FW icon indicates firmware status

as follows:

• Red means firmware is not compatible

• Blue means firmware is compatible but a new version is available.

• Grey/Black means firmware it up to date

10 Click Hide Inventory.

Completing the Installation

Complete the installation by doing the following:

1 Power cycle all SoundGrid servers.

2 Power cycle your S6L system by doing the following:

• Go to Options > System, and choose Shutdown.

• Power down the S6L control surface, E6L engine and all attached Stage I/O units. Wait for them to power down completely.

3 Power the S6L system back on.

Selecting Avid WSG-HD as an IO Device

Selecting a SoundGrid server

If any errors occur during the firmware update click RETRY until it successfully completes.

Plug-Ins 299

Using SoundGrid Plug-Ins

After making connections and configuring SoundGrid with S6L, you can start integrating SoundGrid plug-ins into your Show files.

Similarly, if you have older VENUE Show files that incorporated Waves plug-ins you should be able to load those Shows and have

your previous Waves plug-in configurations transfer automatically (as long as all the required plug-ins are available on the current

system).

To use SoundGrid plug-ins:

1 In VENUE, go to the Plug-Ins page.

2 Select SoundGridRack from the Effect sub-menu of the Plug-In selector for an available rack slot.

SoundGrid Rack appears in the Plug-in window, showing 8 available SoundGrid Rack slots.

Assigning SoundGridRack to a VENUE plug-in rack slot

A SoundGrid Rack (empty)

Plug-Ins 300

3 Within SoundGrid Rack, insert up to 8 plug-ins.

The selected plug-in is assigned to that slot.

4 In the VENUE rack slot for the SoundGrid Rack, configure plug-in routing as desired for use as a channel insert or bus processor.

Opening Show Files with Legacy TDM Waves Plug-Ins

When opening older Show files, any legacy TDM instances of Waves plug-ins are automatically converted to SoundGrid Rack

plug-ins. In the VENUE Plug-In rack these converted instances will appear as “SoundGrid Rack” (check the zoomed view to see

which specific plug-ins are inside that rack).

Snapshots and SoundGrid Plug-Ins

Technically each instance of SoundGrid Rack is a single plug-in. Saving plug-ins in a VENUE snapshot stores all plug-ins within

a SoundGrid Rack instance. You cannot use Snapshots to re-assign Waves plugs within SoundGrid Racks while in Show mode, you

must be in Config mode (since this could potentially require a DSP reshuffle). You can, however, use Snapshots to change plug-in

settings while in Show mode.

Inserting a Waves SoundGrid plug-in to a slot within an instance of SoundGrid Rack

SoundGrid Rack showing plug-ins in slots 1 and 2

Plug-Ins 301

Note that the following actions are not allowed via snapshots (“child plug-ins” refers to plug-ins within an instance of SoundGrid

Rack):

• Moving Waves child plug-in order

• Removing Waves child plug-ins

• Adding Waves child plug-ins

Configuring Redundant SoundGrid Servers

By connecting a compatible SoundGrid server to each of the network ports on the WSG-HD card you can run the SoundGrid serv-

ers in a redundant configuration. To minimize fail-over time during a rehearsal or performance it is recommended to pre-load the

second, redundant SoundGrid server as described below. This procedure only takes a short amount of time and helps ensure the

fastest switching possible.

To minimize fail-over time, do the following:

1 Load a Show file and/or configure the Plug-in Racks with instances of SoundGrid Rack and Waves plug-ins on the active (pri-

mary) SoundGrid server.

2 After confirming the racks are configured with all the Waves plug-ins you want, disconnect the network cable from the

WSG-HD card that is connected to the active (primary) SoundGrid server.

The second, redundant SoundGrid server begins loading the current configuration. This might take a minute or two depending

on the number of SoundGrid Racks and plug-ins in use.

After the redundant SoundGrid server has loaded the configuration, reconnect the first, primary server.

Events 302

Events

An event consists of one or more triggers, which are configured to cause one or more actions to occur.

Events can be very simple, such as the press of a Function switch enabling a Mute Group, or the press of a connected footswitch

triggering a Recall Next Snapshot. These are examples of a single specific trigger (a press of a specific Function switch or the press

of a footswitch) causing a single action (enabling a Mute Group or Recall Next Snapshot).

Events can also be quite complex and involve multiple triggers and actions. For example, a single event can be defined so that mov-

ing a specific fader above and/or below a certain level sends a General Purpose output, and recalls a specific snapshot and mutes

one or more channels. Multiple triggers can be considered conditionally using the available logic operators AND, OR, and XOR.

Events can be defined to operate on specific channels, or to operate globally using the “Any...” Triggers and “Triggered....” Ac-

tions.

Any...Triggers

Many sub-menus in the Triggers menu include choices for Any Aux, Any Group, Any Matrix, Any Mains, and Any

VCA (when relevant). Any Strip refers to any input, output, or bus. Any Channel refers to Input Channels only. These let you define

triggers that fire whenever the defined criteria is met on any strip, channel type, or channel.

Triggered Strip Actions

Similarly, many sub-menus in the Actions menu provide the choice for Triggered Strip. Choosing Trig-

gered Strip creates an action that is applied to the input, output, or bus on whichever strip triggered the Event.

Each event can have between 0 and 8 triggers, and each event can have between 0 and 8 actions. Up to 999 events can be created.

The Event list is easy to configure, and pre-configured events are provided to change View Mode on the external screen.

Ter minology

Event

A user-defined combination of one or more triggers and one or more actions. Each event serves as a type of software “macro”

in which you establish a cause-and-effect relationship between one or more triggers and their results (actions).

Trigger

A conditional check used to fire an event, such as the press of a Function switch. Other available Triggers include fader

above/below, meter values, time of day, and MIDI.

Action

A command, mode or other response resulting from an event being triggered.

Control (Continuous)

A variable control such as a fader or knob.

Control (Switch)

A two-state control such as most switches on the control surface.

System Values

Variables such as Fader Above or Below, and system response values such as channel meters and dynamics gain

reduction meters.

GPI

General Purpose Interface, also known as a logic interface. The S6L control surface provides 2 GPI inputs and 2 GPI outputs.

Open

GPI input or GPI output is floating, or at its reference voltage. Or, a Gate is open.

Closed

GPI input or GPI output is closed. Or, a Gate is closed.

Footswitch

Footswitch ports are functionally identical to GPI inputs and share all of the same properties and behaviors.

Properties

The criteria that define triggers and actions. Properties can be edited for many, but not all types of triggers and actions.

Important Information about Snapshots and Events

Because events can trigger snapshot recalls, and because snapshot recalls can trigger other events, it is possible to create logic

“feedback loops.” For more information, see Avoid Feedback Loops.

For more information on the default events and other examples, see

Default Settings, Templates and Examples.

Events 303

The Events Tab

The Events tab of the Control page is the working area of the Event list system. Events are defined and managed using the Event

list, along with the Triggers and Actions lists. The lists and commands available in these sections create a powerful, user-program-

mable environment. Footswitch and GPI status display are also shown on the Events tab. You can create and load Events Presets,

and import events into the current Show file.

1 –

Event List

2 – Event List Commands

3 – Triggers

4 – Actions

5 – Footswitch Status Display

6 –

GPI I/O Status Display

Figure 3. Events window (Control > Events)

5 6

Events 304

Event List

Each event is shown in its own row within the Event list. The list can be scrolled vertically when necessary.

The Event list contains the following elements:

1 – Event Number

Each event has an associated three digit sequence number, 001 through 999. Events are automatically re-numbered if items are

moved, added or removed.

2 – Event Name

Events can be given custom names, up to a maximum length of 31 characters.

3 – Event Enable Icon

Events can be enabled or disabled individually by selecting the green Enable indicator to toggle its status. All events can be disabled

(suspended) and enabled using the global Disable All button.

4 – Event Status

The Event Status column shows Active (currently in effect), Ready, Disabled (indicated by a dash) or Test state. For more infor-

mation on the Status column, see

Resetting Events.

Event List Commands

You can test, reset, create, duplicate, clear or delete events in the list. These commands apply to any selected (highlighted) events

in the list, and can be performed using the buttons or by touching-and-holding (right-clicking) list items. Multiple events can be se-

lected to test, reset, duplicate, clear or delete them, but only one new event can be created at one time.

You can also utilize Events Presets.

Event list items, commands and displays

Although more than 31 characters can be entered, limit your Event names to 31 characters or less.

1 2 3 4

Events 305

Triggers

The Triggers list shows the name and properties of each trigger defined for the currently selected event, as well as commands to

create and manage triggers.

1 – Triggers List

Each event can have up to eight triggers in the list. Triggers are shown in rows in the Triggers list. Touch-and-hold (right-click)

commands to select, edit, duplicate and delete triggers.

2 – Type and Properties

Each row in the Triggers list shows the selected trigger type. Some types of triggers have editable properties such as a dB level on

a specific channel, or open/closed state of a footswitch or GPI input. Choices vary depending on the trigger type, and not all triggers

have editable properties.

3 – Add

The Add pop-up menu lets you create new triggers. Triggers are organized in the menu according to the type of input signal that

initiates (or triggers) the event. Types of triggers include channel functions, system values, footswitch/GPI inputs, snapshot recall,

and other functions such as talkback.

4 – Logical Operators

Multiple triggers can be considered conditionally by applying a logical operator (AND, OR, XOR) to their properties.

5 – Triggers List Command Buttons

You can edit, reset, duplicate, delete, and select/deselect all triggers in the list. These commands can be performed using the

on-screen buttons or by touching-and-holding (right-clicking) list items. Multiple triggers can be selected for editing, but only one

new trigger can be created at one time.

Triggers list

Triggers assigned to Function switches become available in the VENUE Function Pad app. Each Show file can store up to

128 Function switch assignments.

Triggers and actions which are unavailable due to hardware configuration or other factors are shown as italicized in the

Trigger (and Action) Add menus.

Events 306

Actions

The Actions list shows the actions de-

fined in the currently selected event, as

well as commands to create and manage

actions.

1 – Actions List

Each event can have up to eight actions in

the Actions list. All actions occur when

the event is fired. Touch-and-hold (right-click) commands let you select, edit, duplicate and delete actions.

2 – Type and Properties

Each row in the Actions list shows the selected action type. Some actions have editable state and behavior settings. Some actions

have editable properties such as on/off or toggle state for Control (Switch) actions or open/closed state of a GPI output. Some con-

tinuous control actions have editable values (Relative or Absolute) with cross-fade options. Choices vary depending on the action

type, and not all actions have editable properties.

3 – Add

The Add pop-up menu lets you create new actions. Actions are organized in the menu according to the type of function they affect,

such as channel functions, snapshots, GPI Output and Tap Tempo.

4 – Wait

All actions have a Wait (delay) setting that can be applied to the action.

5 – Triggers List Command Buttons

You can edit, reset, duplicate, delete, and select/deselect all actions in the list. These commands can be performed using the

on-screen buttons or by touching-and-holding (right-clicking) list items. Multiple actions can be selected for editing, but only one

new action can be created at one time.

Footswitch Status Display

The Footswitch status display shows the current open or closed status of Footswitches connected to the Footswitch connectors on

the S6L control surface. Default state for both Footswitches is closed. A Footswitch can be added as a trigger for an action in an

event. Example uses of a Footswitch trigger includes Tap Tempo and snapshot recall. The Footswitch can be named.

GPI I/O Status Display

The GPI port on the back of the S6L control surface can be used to trigger events in VENUE from outboard equipment (GPI input),

or can be used to send messages to trigger outboard equipment to perform one or more actions (GPI output).

The GPI status display shows the current open or closed status of the two GPI inputs and two GPI outputs. Each input and output

can be named.

GPI Inputs

GPI inputs can be added as a trigger for an action in an event. Example uses of GPI inputs include remote snapshot recall

and remote channel muting from an external control system or custom control panel.

GPI Outputs

GPI outputs can be added as an action triggered by a selected trigger. Example uses of GPI output include the follow-

ing:

• Sending a pulse to trigger samplers and playback devices

• Indicating when a microphone or channel is live by lighting an On Air or “tally” light

• Flashing or turning on a light when the system is in a particular mode (such as Solo In Place)

• Integrating with power sequencing devices for automated system turn-on

For GPI port wiring specifications, see

GPI Port Reference.

Events 307

Creating Events

The basic steps to create an event include the following:

• Add a new event in the Event list (see Adding an Event).

• Add and configure triggers for the event (see Adding Triggers to an Event).

• Add and configure actions for the event (see Adding Actions to an Event).

Adding an Event

To add a new event to the Event list:

1 Go to the Control page and select the Events tab.

2 Do any of the following:

• To create an empty, untitled new event, select the New Event Command button.

– or –

• To create a copy of a pre-existing event, select one or more events in the Event list and select the Duplicate button.

3 Double-tap the event name in the list, and enter a name for the event.

Selecting Events

Event list items can be selected, renamed, duplicated, deleted, cleared, enabled or disabled, tested and reset. Selected events are

highlighted in the Event list.

To select one or more events, do any of the following:

• To select a single event, select its row in the Event list.

• To select all events, select the Select All button in the Event Commands section.

• To select multiple consecutive events, select the first desired event and then Shift-touch the last desired event. All events in

between are selected.

• To select multiple non-consecutive events, or to de-select an individual event, Ctrl-touch its row in the Event list.

To deselect or ore more events:

 Touch-and-hold (right-click) anywhere in the Event list and choose Deselect All.

Several pre-defined (default) events are available immediately; others

Default Events are available among the Demo Shows

installed with the system software. You can load these defaults using Events Preset, and import individual events into the current

Show file.

Multiple events selected in the Event list

Events 308

Moving Events

Selected events can be dragged and dropped to new locations in the list. You can also manually edit the event number to re-se-

quence items.

To move one or more events:

1 Select one or more events in the Event list.

2 Touch any selected event and drag them to a new location in the list. As you move events, a white line appears indicating the des-

tination.

3 Release your finger to drop the events at the desired location in the Event list. When moving multiple events, moved events will

be adjacent regardless of their original locations relative to each other (whether adjacent or non-adjacent). events will be renum-

bered as necessary according to the new sequence of events.

To manually edit an event number:

 Double-tap the Event Number and enter a new three digit number to resequence the list accordingly.

Managing Events in the Event List

Once created, events in the list can be managed using on-screen buttons and touch-and-hold (right-click) commands to rename, du-

plicate, delete, clear, enable or disable them.

Renaming an Event

To rename an event:

1 Double-tap the event name in the list.

– or –

2 Touch-and-hold the event name, the select Rename from the menu.

3 Enter a new name.

4 Press Enter to confirm the new name.

Event Name and Function Keys

Function keys are automatically named with the Event name when defined as a Trigger for one

or more Events. The Event / Function key name is displayed in the right bank of Soft Keys on the MTM when Function keys are

shown. When a Function key is assigned to multiple Events, the Function key name displayed on-screen is the name of the Event

with the lowest number in the Events List.

Duplicating an Event

Duplicating an event can simplify Event list configuration when multiple, similar events need to be created, each with slightly dif-

ferent properties.

To duplicate an event:

1 Select one or more events in the Event list.

2 Select the Duplicate Event Command button on-screen. Or, tap-and-hold (right-click) a selected event and choose Duplicate.

You can also use the Test and Reset commands to manually audition events for development and diagnostics. For more infor-

mation, see

Testing Events

Events 309

Deleting and Clearing an Event

Deleting an event removes it permanently from the Event list. Clearing an event leaves the named event in the Event list but clears

all associated triggers and actions.

To delete an event:

1 Select one or more events in the Event list.

2 Select the Delete Event Command button on-screen. Or, touch-and-hold (right-click) a selected event and choose Duplicate.

3 Select Delete in the Confirm Event Operation dialog to delete the event. Or select Cancel to cancel the operation.

To clear an event:

1 Select one or more events in the Event list.

2 Select the Clear Event Command button on-screen. Or, touch-and-hold (right-click) a selected event and choose Clear.

3 Select Clear in the Confirm Event Operation dialog to clear the event. Or select Cancel to cancel the operation.

Enabling and Disabling Events

Events can be disabled to suspend their operation. An event can be selected and edited while it is disabled. You can toggle the en-

abled state of one or more events in the list by selecting the on-screen Enable icons in the Event list, or you can disable the Event

list globally by selecting the master event

Disable All button.

Disabling an event stops all timers (X-Fade and Wait/delay properties) associated with that event, preventing any pending (de-

layed) actions configured for While Active behavior from occurring. Disabling an active event does not automatically de-activate

any associated actions configured for While Active behavior. Use the Reset command instead (see

Resetting Events).

To toggle the enable/disable status of an event in the list:

1 Select one or more events in the Event list.

2 Select the Event Enable icon for the selected event to toggle its state. Or, touch-and-hold (right-click) an item and choose Enable

or Disable as appropriate. When the Enable icon lights (green) and “Ready” is shown in the Event Status column, the event is

enabled. When the icon is unlit and a dash is shown the event is disabled.

To disable all events:

1 Select the Disable All Events Command button. The Disable All button lights, and all items in the Event list show a dash in the

Status column.

2 To re-enable all events select the Disable All button again.

All events are prevented from firing when the global Disable function is in effect. However, active events are not de-activated.

Use Reset or Reset All for this (see

Resetting Events). Individual event enable/disable status is preserved (events retain the cur-

rent state of their Enable icons) and can be modified when globally disabling and enabling events using the master Disable but-

ton.

Disabling an event can be a useful troubleshooting tool, such as when an event has caused an action/trigger feedback loop

and must be edited before being re-enabled.

Disabled events

Events 310

Events Presets

You can save and load Events Presets files to import, export, and transfer Events. You can also create your own Events Preset fold-

ers to organize Events Preset files. Preset folders and files can be transferred using the Filing page. A Factory Preset file is installed

automatically, letting you restore Events definitions created at the factory.

To create a custom Presets folder:

1 Go to the Filing page and select the Transfer tab.

2 Select the Preset Folders icon.

3 Select the New button at the left of the screen.

4 Do one of the following:

• To leave the folder at its default name, press Enter.

• Type a new name and press Enter.

To save a Preset:

1 Go to Control > Events, and configure the Events list as desired.

2 On the Events tab, select the Presets icon.

3 In the Presets window, select New.

4 Enter a custom name for the Preset.

To load a saved Events Presets file:

1 Make sure the presets are already transferred and available on the current system.

2 Go to Control > Events.

3 Select the Presets icon.

4 Select a preset name in the Presets list to preview it. With the Presets list displayed, do any of the following:

• To scroll through the list, press Up or Down arrow keys on your computer keyboard.

• To load a preset and close the Presets list, double-tap a name in the Presets list.

•Select

Cancel to close the Presets list without changing settings.

To rename, duplicate, delete, or overwrite a Presets file:

1 Go to Control > Events.

2 Select the Presets icon.

3 Right-click on the item and choose Rename, Duplicate, Delete, or Overwrite.

The factory (Default) Events Presets contain definitions for F (Function) keys 1-9 to jump to different pages on the external screen.

Events Presets icon (Control > Events)

Selecting Events Presets replaces all events currently in the list. To selectively add events to the list, see

Import Snapshots and

Events.

Events 311

To transfer Events Presets:

1 Go to the Filing page and select the Transfer tab.

2 Connect a USB flash drive to the S6L control surface. The device appears above the right column.

3 Select the Events block.

4 Do one of the following to select the items to transfer:

• In the left column, select the items you want to transfer to the portable storage device.

– or –

• In the right column, select the items you want to transfer from the portable storage device to your system.

Be sure to select the desired folder for the destination/source device. For more information on creating Presets folders and nav-

igating the Filing page, see the

VENUE S6L System Guide.pdf.

5 Select the Transfer button.

Creating Triggers

Each Event can have up to eight triggers. You create new triggers by selecting them from the Add

pop-up menu.

Once added, you can edit triggers and their properties to customize them.

Adding Triggers to an Event

To add a trigger:

1 Select an Event in the Event list, or create a new one. (For details, see

Selecting Events, and

Creating Events.)

2 Select the ADD button in the Triggers list, and then choose the trigger type from the pop-up menu

or any of its sub-menus.

The chosen trigger type is added to the Trigger list for the currently selected Event, with its default

properties. The figure below shows an example trigger based on Function Switch 1.

Events selected in Filing > Transfer

Trigger added to Triggers list

For a list of available trigger types, see

Trigger Types. For examples of different trigger types in use, see Examples.

Triggers menu

Events 312

Editing Trigger Type and Properties

To edit the trigger and its properties:

1 Double-tap the trigger row in the list. Or touch-and-hold (right-click) the action item and choose Edit.

2 Choose a new Trigger Type, or edit any of the available properties in the row for that trigger. Properties vary depending on the

type of trigger selected (not all trigger types have editable properties).

3 Touch anywhere else to exit.

Logical Operators for Triggers

An individual trigger is considered to be “true” when the function described by its type and properties takes place, such as while a

footswitch is actually pressed, or a fader is raised above its trigger threshold.

A trigger is considered to be “false” (or, not occurring) whenever its function and properties are not met, such as when a footswitch

is not being pressed, or while a fader remains below its assigned trigger threshold.

When an Event includes multiple triggers, a logical operator (OR, AND, XOR) must be chosen from the Operators pop-up menu.

(The default Operator is OR.)

The logical operator has no effect when the Triggers list includes only one item.

To choose a logical operator for the current Event:

1 Select the desired Event to display its assigned triggers.

2 Select the Operators pop-up menu (by default, this pop-up menu displays “OR”) and choose AND, OR, or XOR.

Only one logical operator is permitted per event, and this operator applies to all triggers within the event. It is not possible to use

a mix of logical operators within an event. For examples of logical operator behaviors, see

Examples of Logical Operators.

Managing Triggers in the Triggers List

Triggers in the list can be selected, edited, duplicated and deleted.

Selecting Triggers

Triggers can be selected using the same methods as used when selecting items in the Event list. For more information, see Select-

ing Events.

Editing Triggers

To edit a trigger:

1 Select the item in the Triggers list so it is highlighted, then select the Edit button.

– or –

• Touch-and-hold the desired trigger, then select Edit from the menu.

When the chosen item is a switch or other two-state control, selectors for Type (1 in the figure below) and State (2 in the figure

below) are displayed in the trigger row.

The Trigger List Edit button

Events 313

When the chosen item is a continuous control or value, selectors for Type (1 in the figure below), Control (2), Above/Below (3,

for Fader, Meter, and certain other Types), and editable field for Value (4 in the figure below) are displayed.

2 Do any of the following:

• To change the trigger type (such as choosing a completely different control, choosing a different channel, or changing a trigger

to an “Any...” type), select the

Type pop-up menu and make a new selection from the Type menu.

• For switches, buttons and other two-state functions, select the State pop-up menu and make a selection. Choices for State vary

as appropriate for the trigger type, and will include Closed or Open, On or Off, and Pressed or Released.

• For continuous controls, use the

Above/Below pop-up menu (as available) to define the trigger. To change the specific trigger

control or value for the current type (such as to change Fader to Aux level for the current channel), select the Control pop-up

menu and make a new selection.

• For

Fader Above/Below triggers (such as for faders), select the currently displayed dB value to highlight it, then type in a new

value.

• For System Values (such as Meter Above/Below), set a dB value, Hold time and Release time.

3 To confirm your changes, press Enter or select anywhere else in the Events window.

Duplicating Triggers

To duplicate a trigger:

1 Select the item in the Triggers list so it is highlighted, then select the Duplicate button.

– or –

• Touch-and-hold the desired trigger, the select Duplicate from the menu.

Deleting Triggers

To delete a trigger:

1 Select one or more items in the Triggers list so it is highlighted, then select the Duplicate button.

– or –

2 Touch-and-hold the desired trigger, the select Duplicate from the menu.

Channel X / Y Function Switches

In their default configuration, the X and Y switches in each channel strip toggle the corresponding Expander/Gate and Compres-

sor/Limiter on/off, respectively. You can reconfigure these switches to instead become available Triggers and Actions.

To enable channel X and Y switches for use as Triggers:

 In the Fader Configuration section of the Options > Interaction tab, enable the Use X/Y as Event Triggers/Actions option.

Properties for a switch trigger

Properties for a continuous control trigger

1 2

1 2 3 4

Events 314

When enabled for use as Triggers and Actions:

• X and Y switches become available in the Switch (Type) list in the Trigger properties, in the Control Surface sub-menu.

• X and Y switch LED state (Light and Flash) become available in the Switch (Type) list in the Action properties, in the Control

Surface sub-menu.

•

X and Y switches no longer toggle their corresponding dynamics processor on/off, even if they are not yet included in the defi-

nition of any specific Event.

System Values as Triggers

Events can be triggered by meter above/below values, and by Gate open/closed state.

Editable properties for System Value Triggers include the following:

Hold

How long the threshold must be met or exceeded before the Trigger becomes active.

Release

The length of time the Trigger stays active once the value has crossed the threshold again.

X and Y in the Switch sub-menu (requires the Use X/Y as Event Triggers/Actions setting is enabled in Options > Interaction)

Events 315

Creating Actions

Each event can have up to eight actions. You create new actions by selecting them from the Add

pop-up menu.

Once added, you can customize actions by editing their properties, as available.

Adding Actions to an Event

To add an action:

1 Select an event, or create a new one.

2 Select the ADD button in the Action list, and then choose an action type from the pop-up menu

(shown at right).

The chosen action type, with its default settings, is added to the action list area. The figure below

shows an example action has been added to control Talkback.

Editing an Action Type and Properties

To edit an action:

1 Select an item in the Actions list so it is highlighted, then select the Edit button.

– or –

1 Touch-and-hold the desired trigger, the select Edit from the menu.

2 Select the displayed action Type and make a new selection.

Action State

To edit an action State for switches, buttons and other two-state functions:

 Select the State pop-up menu and make a selection. Choices for State vary as appropriate for the trigger type, and will include

Closed or Open, On or Off, and Toggle.

Action added to Action list

For a list of available actions, see

Action Types. For examples of different types of actions in use,

see Examples.

Action properties for a switch (two-state) control

Actions menu

Action Type State Behavior Wait

Events 316

Action Behavior

To edit action behavior for switches, buttons, and other two-state functions:

 Select the Behavior pop-up menu and choose Latch or While Active, as appropriate:

Latch

Fixes the behavior in its defined state (such as open or closed) until unlatched by another event or operation.

While Active

Latches the behavior in its defined state as long the associated trigger is in effect (active, or “true”), such as unmuting

a channel only while a footswitch is pressed and held.

Pulse and Duration (GPI Output only)

Produces a single-shot pulse output. Duration range is 0.1 second (100 ms) to 1.0 second,

in 0.1 second increments. The default duration is 0.3 seconds (300 ms).

To configure GPI output pulse and duration for an action:

1 Double-tap the action to edit it.

2 Select the Behavior pop-up and choose Pulse.

3 Enter a value for Pulse Duration.

4 To confirm you changes, press Enter or select anywhere else in the Events window.

Action Wait

All actions let you specify a Wait time of up to 100 seconds for the action to wait before firing. This can be useful for synchronizing

the timing of multiple external devices, or to build timed sequences of actions.

To configure action Wait (Delay):

1 Double-tap the action to edit it.

2 Select the Wait value box to highlight it and enter the desired time.

Absolute and Relative Continuous Control Actions

When defining an Action to raise or lower a continuous control (such as channel volume or Aux Send level) you can choose to ap-

ply an Absolute or Relative change, with or without a cross-fade.

Absolute

Sets the parameter to an explicit value, such as setting a fader to exactly +3 dB.

Relative

Adjusts the parameter by a defined value relative to its current position. For example, lowering a fader by - 2 dB.

X-Fade Continuous Controls

Control (Continuous) Actions can have a cross-fade included in their definition, with variable shape.

To include a cross-fade in an Action:

1 In the Actions list, select the specific Action and click Edit (or double-click the Action).

2 Enter a value for X-Fade, and if desired choose an available shape for the cross-fade (such as Linear, Sine, X^2).

Defining a Relative action

Cross-fade (X-Fade) and Shape

Events 317

Selecting Actions

Actions can be selected using the same methods as used when selecting items in the Event list. For more information, see Selecting

Events.

Managing Actions in the Actions List

Actions can be moved, renamed, duplicated, and deleted, just as you can with triggers. For instructions on managing items in the

Actions list, follow the instructions for triggers in Managing Triggers in the Triggers List.

Testing Events

An event can be manually triggered to test it, regardless of its current status or enabled/disabled state. Use this feature to verify ac-

tion properties and confirm proper operation of devices connected to GPI output ports. When an event is in Test mode, it is effec-

tively considered true until the event is manually reset. An event in test can be re-tested at any time by again pressing the Test but-

ton. You do not have to reset in-test events to re-test them. Incoming triggers are ignored when events are in Test mode. For

example, if a footswitch event is being tested and you accidentally hit the footswitch at some point during the test, the event does

not revert to Active the moment Test is canceled. Events always return to their ready state following a Reset. Events won’t re-fire

until the trigger logic re-asserts itself as true.

To test events:

1 Select one or more events in the Event list, then select the Test button.

2 When you're satisfied the event is behaving correctly, select the Reset button.

Resetting Events

You can use the Reset command to quickly reset Active or in-Test events to “ready.” You can also use the Reset All command to

immediately reset all events in the list. The current status of each event is shown in the Status column in the Event list:

To reset an event:

 Select one or more events in the Event list (see

Selecting Events), then select the Reset Event Command button.

To reset all events:

 Select the Reset All button.

When events are reset, the following rules are applied:

 Latching or pulsed actions which have already occurred are unaffected. For example, reset does not unlatch a previously latched

function.

 All action delay timers (Wait) are immediately canceled.

 Actions configured for While Active behavior are immediately canceled.

 Events will not occur until the trigger logic again evaluates as true.

For example, let’s say you have an event configured to close a GPI Output whenever Channel 3 is muted (its behavior property is

While Active). Resetting the event opens the GPI Output, even though Channel 3 might still be muted. The event will re-trigger the

next time the channel goes from an unmuted state to a muted state.

Status Description

Active Event is currently true (triggered)

Ready Event is currently false (not triggered)

Disabled Event is disabled and can not be triggered

Test Event has been manually triggered

Events 318

Snapshots and Events

Events can include snapshot functions among their triggers and actions.

Snapshots as Triggers

Events can be triggered by the following snapshot functions:

• Recall of specific snapshots

• Enabling of Snapshot modes (Preview, Update and Edit)

Snapshots as Actions

Event actions can include the following snapshot functions:

• Recall of a specific snapshot

• Recall the previous, next or selected snapshot.

• Initiate Store to Selected Snapshot commands (overwriting and updating snapshots)

• Enable different Snapshot modes (Preview, Update and Edit)

Snapshot Modes and Event Status

While in Update or Edit modes, events-driven snapshot recall is suspended.

While in Preview mode, triggers that occur in the online state of the system are executed, including MTC-driven recall of snap-

shots. Triggers caused by changes to the offline (Preview) controls are ignored and do not cause events to occur.

Avoid Feedback Loops

Because events can both affect and be affected by snapshots, it is possible for events to cause “feedback loops.”

Be especially careful when Recall Previous or Next snapshot triggers and actions are combined with events that recall a specific

snapshot, as shown in the following diagram.

Diagram illustrating potential logic feedback loop between events and snapshots

The global event Disable All and Reset All buttons can serve as “panic” buttons to temporarily suspend and/or reset all events,

giving you a chance to diagnose the source of any problems. For more information, see

Resetting Events.

Event 011

Event 414

Trigger:

Action

Recall of Snapshot 003

Recall Next Snapshot

Recall of Snapshot 004

Trigger:

Action:

Recall Previous Snapshot

Result: Snapshot 004

Result: Snapshot 003 is recalled

Snapshot 003 is recalled (manually, MTC, other)

is recalled

Events 319

Default Settings, Templates and Examples

Default Events

Each Demo Show file contains a set of default events that can be used as a starting point to build your own events. Some examples

of the types of default events for S6L include the following:

Examples

The following table provides a listing of example event definitions. Use the techniques explained throughout this chapter to add one

or more of the following events to establish your own set of events, triggers and actions.

Examples of default events

Default Event Type and Name Triggers Actions

Inputs (F1) Function Switch 1, Pressed Light Function Switch 1, On, While Active, Wait 0.0 sec.

Change View Mode - Inputs Page, Wait 0.0 sec.

Outputs (F2) Function Switch 2, Pressed Light Function Switch 2, On, While Active, Wait 0.0 sec.

Change View Mode - Outputs Page, Wait 0.0 sec.

Snapshots (F3) Function Switch 3, Pressed Light Function Switch 3, On, While Active, Wait 0.0 sec.

Change View Mode - Snapshots Page, Wait 0.0 sec.

Plug-Ins (F4) Function Switch 4, Pressed Light Function Switch 4, On, While Active, Wait 0.0 sec.

Change View Mode - Plug-Ins Page, Wait 0.0 sec.

Options(F5) Function Switch 5, Pressed Light Function Switch 5, On, While Active, Wait 0.0 sec.

Change View Mode - Options Page, Wait 0.0 sec.

Control (F6) Function Switch 6, Pressed Light Function Switch 6, On, While Active, Wait 0.0 sec.

Change View Mode - Control Page, Wait 0.0 sec.

Overview (F7) Function Switch 7, Pressed Light Function Switch 7, On, While Active, Wait 0.0 sec.

Change View Mode - Overview Page, Wait 0.0 sec.

Filing (F8) Function Switch 8, Pressed Light Function Switch 8, On, While Active, Wait 0.0 sec.

Change View Mode - Filing Page, Wait 0.0 sec.

Patchbay (F9) Function Switch 9, Pressed Light Function Switch 9, On, While Active, Wait 0.0 sec.

Change View Mode - Patchbay Page, Wait 0.0 sec.

To see the default (factory) Function key assignments, use the

Clear Console command.

Example Application of Event Elements, Triggers, and Actions

Example Application

Elements

Type

Menus Definition/Properties

If any input fader goes below

-60, mute that channel

Trigger

Control (Continuous) > Any Channel Any Channel, Fader, Below -60 dB

Action

Set Control (Switch) > Triggered Strip Triggered Strip, Mute

If any Input Channel meter

stays above +3 dB for 2 sec-

onds, engage Gain Guess on

that channel

Trigger

Meter > Any Channel Any Channel Meter, Above, +3 dB, 2 sec.

Action

Set Control (Switch) > Triggered Channel Triggered Strip, Input > Gain Guess, On

If any Input Channel meter

stays above +3 dB for more

than 3 seconds, lower the input

level on that channel by -3 dB

Trigger

Meter > Any Channel Any Channel Meter, Above, +3 dB, 3 sec.

Action

Set Control (Continuous) > Triggered Strip Triggered Strip, Fader, Relative, -3 dB

Pressing a Channel Color

switch puts that channel’s

Direct Out level on its fader

Trigger

Control (Switch) > Any Strip Any Strip, Color Switch, Pressed

Action

Continuous Control on Fader > Triggered

Strip

Triggered Strip, Direct Out, Toggle

Events 320

Templates

The following table provides additional suggested event definitions. Use the techniques explained throughout this chapter to add

one or more of the following events to establish your own set of events, triggers and actions.

Using the Templates

To add any of the events listed in the table, do the following (using the first template, Talkback (Toggle) as an example):

To use the templates:

1 Create a new event.

2 Edit the event name (for example, “Talkback (Toggle)” as shown in the table). For renaming instructions, see

Renaming an

Event.

3 Select the (Trigger) Add pop-up menu and choose Footswitch > Switch 1 (Footswitch 1). The Switch 1 trigger type is added,

with a default State setting of Closed.

4 Select the (Action) Add pop-up menu and choose Talkback. The Talkback action is added. By default, the action State is Tog-

gle, and the behavior is Latched. There is no Wait (delay before firing) needed for this action.

Switch 1 (Footswitch 1) is now configured to toggle Talkback On or Off each time the footswitch is pressed.

If the spare vocal input Gate

closes, mute that input

Trigger

Gate > Channel <channel number/name> Closed

Action

Set Control (Switch) > Channel <channel

number/name>

<channel number/name>, Mute, On

Link a custom Layout to Sends

on Faders so that when you flip

that Aux to faders it spills in

that custom layout

(* Note: Requires that the

“Sends on Faders Follow AFL”

option is enabled for Mon bus

A or B, in Options > Buses)

Trigger

Control (Switch) > Aux <desired Aux) Aux <desired Aux>, Solo, On *

Action

Load Layout > Load Layout <Layout name> Load Layout <Layout name>

Suggested event definitions for common functions

Event Name Trigger Type

Trigger

Properties

Action Type

Action

Properties

Behavior

Talkback (Toggle) Footswitch Closed Talkback Toggle Latch

Talkback (Momentary) Footswitch Closed Talkback On While Active

Fader Start Fader Above Ch 1 -60 dB GPI Output 1 Closed Pulse (0.3 s)

Fader Stop Fader Below Ch 1 -inf dB GPI Output 1 Closed Pulse (0.3 s)

Fader Start/Stop Fader Above Ch 1 -60 dB GPI Output 1 Closed While Active

Mute Channel (Toggle) Footswitch 1 Closed Mute Ch 1 Toggle

Mute Group 1 (Toggle) Function Switch 9 Pressed Mute Group 1 Toggle Latch

Toggle Input Safe Switch

mode

Function Switch/ Pressed Input Safe Switch Mode

Tap Tempo Function Switch Pressed Tap Tempo

Pro Tools Start Record Function Switch Pressed Pro Tools > Record

Example Application of Event Elements, Triggers, and Actions

Example Application

Elements

Type

Menus Definition/Properties

Events 321

If you prefer momentary talkback, edit the event by doing the following.

1 Double-tap the Talkback action in the Actions list to access its editable properties.

2 Select the action State pop-up menu (it displays Toggle by default, or the current State setting) and select On.

3 Select the action Behavior pop-up menu and choose While Active. Together with the State setting (On), While Active estab-

lishes momentary control of the action; in this example, Footswitch 1 is now assigned to provide momentary Talkback control.

4 To quickly test the switch trigger, select the Test button, or press the Footswitch. Adjust the trigger State for your footswitch,

as necessary, for its open/closed orientation. (For instructions, see

Editing Trigger Type and Properties.)

5 After testing the trigger, select Reset to return the event to its Ready state.

Talkback State and Behavior after editing

Events 322

Trigger Types

The following table lists the available trigger types and properties, along with a description of each.

Trigger Menus

Menu Property 1 Property 2 Property 3 Description

Control (Continuous) > Any Strip

Any Channel

Channel 1-n >

Any Aux

Aux 1-n >

Any Group

Group >

Any Matrix

Matrix >

Any Mains

Mains >

Any VCA

VCA 1-n >

Fader (default) Fader level, Above / Below, –inf to +12 dB

(Default: –60 dB)

Continuous control

moved below or above

threshold

Input > Pan (position), Width, Delay (ms), Direct

Out (level), HPF (freq.), LPF (freq.)

EQ > Gain, Frequency and Q for each of the four

bands on Inputs or seven bands on Outputs

Dynamics > Comp/Lim Threshold, Attack, Release,

Ration, Knee, Gain, Key LF and Key HF

Exp/Gate Threshold, Attack, Release,

Ratio, Hold, Range, Key LF, and Key HF

Aux 1 – n > Aux Send level

Inserts > HW Insert Position

Control (Switch) > Any Strip

Any Channel

Channel 1-n >

Any Aux

Aux 1-n >

Any Group

Group >

Any Matrix

Matrix >

Any Mains

Mains >

Any VCA

VCA 1-n >

Mute Switch Press (down)

Switch Release (up)

Solo

Attention

Control Surface > Color Switch

X Switch

Y Switch (see

Channel X / Y Function

Switches

)

Input > Fader Touch, Gain Guess, Input Direct,

Polarity, Delay In, Direct Out In, HPF In,

LPF In, Automation Safe, Solo Safe, Mains

L/R Assign, Mains C/M Assign

EQ > EQ In, EQ Analog Mode, In (per band), Bell

(per applicable band)

Dynamics > Comp/Lim In, SideChain In/HPF In/LPF

In/Listen

Exp/Gate In, SideChain In/HPF In/LPF

In/Listen

Aux Send 1 – n > IN

Aux Send

Pre/Post 1 – n

Pre/Post

Group Send > IN

Inserts > HW Insert Position

Meter > Any Strip

Any Channel

Channel 1-n >

Any Aux

Aux 1-n >

Any Group

Group >

Any Matrix

Matrix >

Any Mains

Mains >

Channel 1-n

Aux 1-n

Group 1-n

Matrix

Mains

Above / Below, threshold (dB), Hold (ms),

Release (ms)

Meter value

Events 323

Gate >

Any Channel

Channel 1-n >

Channel 1-n Open / Closed Gate status

Solo/AFL Monitor Bus

A >

Any

Input

Output

VCA

Solo In Place

(Monitor Bus A)

On (default) / Off Solo/AFL active/inac-

tive

Solo/AFL Monitor Bus

A >

Any

Input

Output

VCA

Solo In Place

(Monitor Bus B)

Solo/AFL active/inac-

tive

Function Switch > Function Switch

1–128

Pressed (default)

Released

Switch Press (down)

Switch Release (up)

Footswitch > Switch 1 (FS 1)

Switch 2 (FS 2)

Open

Closed (default)

Footswitch input high

Footswitch input low

GPI Input > GPI input 1-8 Open

Closed (default)

GPI Input high

GPI Input low

MIDI Input >

Note on/off

Poly Key Pres.

Control Change

Program Change

Channel Pres.

Pitch Bend

MMC commands

Channel, Note, Velocity, Value, LBS, MSB

Target Device ID (MMC only)

Properties vary with

MIDI trigger Type

Recall Snapshot > Snapshot num-

ber and name

Event triggered by

snapshot Recall

Preview Mode On (default)

Off

Preview Mode

active/inactive

Snapshot Update

Mode

On (default)

Off

Update Mode

active/inactive

Edit Mode On (default)

Off

Edit Mode active/inac-

tive

Talkback On (default)

Off

Talkback active/inac-

tive

Flip to Faders On (default)

Off

Flip to Faders

active/inactive

Show Mode Active Show Mode is active

Config Mode Active Config Mode is active

System Start System software ini-

tialized

Time 00:00:00 Clock time (24 hour

format)

Time Code 00:00:00:00 LTC, MTC

Plug-In Rack Ready Mirrors plug-ins rack

Ready state

Trigger Menus

Menu Property 1 Property 2 Property 3 Description

Events 324

Action Types

The following table lists the available Action types and properties, along with a description of each.

Table 6. Action types

Menu Property 1 Property 2 Property 3 State/Behavior Description

Attention Next Chan-

nel

Wait (0.0 sec. def.) Selected Channel

advances by one

Attention Previous

Channel

Selected Channel reverses

by one

Copy Attentioned

Channel

Channel copy operation

Paste to Attentioned

Channel(s)

Channel paste operation

Set Control (Continu-

ous) >

Triggered Strip

Channel 1-n >

Aux 1-n >

Group 1-n >

Matrix >

Mains >

VCA >

Fader (default) Fader level –inf

to +12 dB

(Default:

–60 dB)

• Absolute or Rela-

tive

• X-Fade (and vari-

able shapes)

• Wait (0.0 sec.

def.)

Input > Pan (position),

Width, Delay

(ms), Direct Out

(level), HPF

(freq.), LPF

(freq.)

EQ > Gain, Fre-

quency and Q

for each of the

four bands on

Inputs or seven

bands on Out-

puts

Dynamics > Comp/Lim

Threshold,

Attack, Release,

Ration, Knee,

Gain, Key LF

and Key HF

Exp/Gate

Threshold,

Attack, Release,

Ratio, Hold,

Range, Key LF,

and Key HF

Aux 1 – n > Aux Send level

Inserts > HW Insert Posi-

tion

Events 325

Set Control (Switch) Triggered Strip

Channel 1-n >

Aux 1-n >

Group 1-n >

Matrix >

Mains >

VCA >

Mute • Switch Press

(down) / Switch

Release (up)

• Latch (default) /

While Active

• Wait (0.0sec

default)

Solo

Attention

Control Surface > Flash Color

Switch

Light X Switch

Flash X Switch

Light Y Switch

Flash Y Switch

Input > Gain Guess,

Input Direct,

Polarity, Delay

In, Direct Out In

HPF In, LPF In

Automation Safe

Solo Safe

MainsL/R Assign

MainsC/M

Assign

EQ > EQ In, EQ Ana-

log Mode, In (per

band), Bell (per

applicable band)

Dynamics > Comp/Lim In,

SideChain

In/HPF In/LPF

In/Listen

Exp/Gate In,

SideChain

In/HPF In/LPF

In/Listen,

Aux Send 1 – n > IN

Aux Send

Pre/Post 1 – n

Pre/Post

Group Send > IN

Inserts > HW Insert Posi-

tion

Mute Group > Mute Group 1–n • On/Off/Toggle

(def.)

• Latch (default) /

While Active

• Wait (0.0 sec.

def.)

Toggle Mute group status

Mute All Stage Outputs Mutes all outputs of all

assigned Stage 64 boxes

Clear Solos > Monitor Bus A

Monitor Bus B

Clear All

Wait (0.0 sec. def.) Mirrors Solo Clear

Bypass Plug-In Rack names 1-5 Slots 1-25 • On/Off/Toggle

(def.)

• Latch (default) /

While Active

• Wait (0.0 sec.

def.)

Table 6. Action types

Menu Property 1 Property 2 Property 3 State/Behavior Description

Events 326

Change View Mode > Software screen

pages

Wait (0.0 sec. def.) Targets selected pages

on-screen

Set Fader Banking

Mode >

Split Banking

Inputs

Outputs

VCAs

Layouts

• On/Off/Toggle

(def.)

• Latch (default) /

While Active

• Wait (0.0 sec.

def.)

Light Function Switch

Light Function

Switch 1–n

• On/Off/Toggle

(def.)

• Latch (default) /

While Active

• Wait (0.0 sec.

def.)

Lights Function switch

Flash Function Switch

Flash Function

Switch 1–n

Flashes Function switch

Pro Tools > Stop Wait (0.0 sec. def.) Transport controls for

Pro Tools playback and

recording

Play

Record

Record Enable

All VENUE

Tracks

Tracks in Pro Tools with a

VENUE I/O path are record

armed (enabled).

Record Disable

All VENUE

Tracks

Tracks in Pro Tools with a

VENUE I/O path are record

disarmed.

Snapshots > Recall Snapshot

Snapshot num-

ber and name

Wait (0.0 sec. def.) Recall specified snapshot

Recall Next

Snapshot

Mirrors Snapshot Next but-

ton

Recall Previous

Snapshot

Mirrors Snapshot Previous

button

Recall Selected

Snapshots

Mirrors Snapshot Recall

button

Store to Selected

Snapshot

Mirrors Snapshot Store but-

ton

Preview Mode • On/Off/Toggle

(def.)

• Latch (default) /

While Active

• Wait (0.0 sec.

def.)

Activate/deactivate Pre-

view Mode

Snapshot Update

Mode

Update mode active while

trigger is true

Absolute Edit

Mode

Enters Edit mode when trig-

ger is true; exits via Abso-

lute when trigger goes false

Relative Edit

Mode

Enters Edit mode when trig-

ger is true; exits via Relative

when trigger goes false

GPI Output > Output 1–8 • Open/Closed

(default)/Toggle

• Pulse, 0.3s

(default)

• Latch/While

Active

Pulses or latches selected

GPI Output

Table 6. Action types

Menu Property 1 Property 2 Property 3 State/Behavior Description

Events 327

MIDI Output > Note on/off

Poly Key Pres.

Control Change

Program Change

Channel Pres.

Pitch Bend

MMC commands

Channel, Note,

Velocity, Value,

LBS, MSB

Target Device ID

(MMC only)

Wait (0.0 sec. def.)

GEQ on Faders > Toggle GEQ on

Faders

S6L-32D:

• GEQ 20–20k

S6L-24D and

S6L-24:

• GEQ 20–630

• GEQ 800–20

kHz

• On/Off/Toggle

(def.)

• Latch (default) /

While Active

• Wait (0.0 sec.

def.)

Assigns Graphic EQ con-

trols to the faders for the

selected channel

Sends on Faders > Triggered Strip

Aux 1-n

Engages Sends on Faders

mode

Continuous Control on

Fader

Triggered Strip

Channel 1-n >

Aux 1-n >

Group 1-n >

Matrix >

Mains >

Input

Dynamics

Auxes

Matrix Sends

Matrix Pans

Inserts

all continuous

controls

Flips the Action control to

the fader

Engage Flip to Faders Mirrors the

Flip switch

Load Layout Layout Name Wait (0.0 sec. def.) Load specified Layout

Flash Console Light

Bar

Wait (0.0 sec. def.) Flashes console lights

Disable Bank Safe • On/Off/Toggle

(def.)

• Latch (default) /

While Active

Wait (0.0 sec. def.)

Disables any currently Bank

Safed channels

Talkback Toggles the Talkback output

on/off

Input Safe Switch

Mode

Wait (0.0 sec. def.) Cycles through Input Safe

Switch modes

Output Safe Switch

Mode

Cycles through Output Safe

Switch modes

Tap Tempo Sets the system tempo to

synchronize delay plug-ins

that support Tempo Sync

Cancel Operation Wait (0.0 sec. def.) Mirrors Cancel switch (and

Esc key on keyboard)

Table 6. Action types

Menu Property 1 Property 2 Property 3 State/Behavior Description

Events 328

Examples of Logical Operators

Logical operators determine the precise state required in order for an event to occur as shown in the following tables:

At least one of the triggers must be true. The following table shows the effect of OR on events with multiple triggers. In the

table, 0 indicates a false condition (not occurring) and 1 indicates a true condition (occurring).

When using OR, if one or more (but not all) of the triggers go false, the event logic is only acted on again when all triggers evaluate

to false (result = 0).

AND

All triggers must be true. The following table shows the effect of AND on events with multiple triggers. In the table, 0 indi-

cates a false condition (not occurring) and 1 indicates a true condition (occurring).

XOR

At least one trigger, but not all, must be true. The following table shows the effect of XOR on events with multiple triggers. In the

table, 0 indicates a false trigger condition (not occurring) and 1 indicates a true condition (occurring).

Trigger A Operator Trigger B Result

0OR00

0OR11

1OR01

1OR11

Trigger A Operator Trigger B Result

0AND00

0AND10

1AND00

1AND11

Trigger A Operator Trigger B Result

0XOR00

0XOR11

1XOR01

1XOR10

Options 329

Options

The Options page provides several tabs. Of these, the System and Devices tabs are where most system configuration settings and

options are enabled and customized:

• The System tab provides the primary tools by which you configure mixing, routing, and processing options.

• The Devices tab provides status, diagnostics, and options for hardware components.

This chapter shows you how to manage the most important System and Devices settings, and describes the settings available in

other Options screens.

Overview of Options

The Options page provides the following tabs:

• System

• Buses

• Pickoffs

• Snapshots

• Misc

• Interaction

• Devices

• Plug-Ins

• Plug-Ins (see Installing and Authorizing Plug-Ins)

System

From the System tab you can configure inputs, Main and Mix buses, reset and shut down your system, lock the system, and get sys-

tem info.

Settings available in the System tab can only be edited while in Config mode.

To change a system configuration option:

6 Put the system in Config mode.

7 Go to the Options page and select the System tab.

8 Select Edit.

9 Change a Mains Bus or Mix Bus Configuration, or enable or disable Virtual Soundcheck

or Input mode.

10 Select Apply to confirm and apply your new settings, or Cancel to cancel the operation.

11 Return to Show mode when you are finished editing settings.

Changing system settings may restart and/or interrupt audio.

Select the Cancel button to return to the previous setting.

Options 330

System Configuration

In Show mode, the System Configuration section is display-only, showing the current allocation of system resources and bus set-

tings.

In Config mode, you can edit system settings such as input channel configuration, bus configurations, and hardware I/O configu-

rations.

Engine

This section shows the following information:

Internal Processing

Shows the current sample rate of the S6L system.

HDX Mix Engines

Shows the number of HDX TDM cards are installed in the currently paired E6L Engine.

DSPs for Plug-Ins

Shows the amount of DSP available for plug-ins is pre-configured, and cannot be changed.

Processing

Input Channels

Shows the maximum number of input processing channels available on your system, and is determined by the

model of E6L engine your S6L control surface is currently paired with.

Matrixes

Shows the number of available Matrix Mixers, and is determined by the model of E6L engine your S6L control surface

is currently paired with.

VCAs

Shows the number of available VCAs.

Mute Groups

Shows the number of available Mute Groups (24).

Graphic EQs

Shows the number of available Graphic EQs (32).

System Inputs

This setting lets you globally choose between using Stage inputs or Pro Tools inputs as the source for your system input channels.

You can also specify AVB Input or Virtual Soundcheck, or MADI Input or Virtual Soundcheck as the input source. MADI Input

or Virtual Soundcheck requires one or more MADI-192 MADI Option cards.

System Outputs

This setting lets you choose AVB, MADI (MADI-192 MADI Option cards), or both as the Virtual Soundcheck Destination.

Mains Bus Configuration

The Mains Bus settings let you choose the overall configuration for the Main buses.

Mix Bus Configuration Settings

These options settings let you choose the overall Aux and Group bus configuration.

Audio is interrupted when a System Configuration setting is applied. Do not change these settings during a performance.

System configuration settings are stored with Show files. See

System Configurations and Loading Shows for more infor-

mation.

See

Pro Tools Recording and Playback for more information.

For instructions, see

Configuring the Mains Bus.

For instructions, see

Configuring Mix Buses.

Options 331

System

This section provides the Shutdown, Info (system information export), Update, and Lock buttons. These buttons are also available

on the MTS (press the Gear icon, then tap to display the General tab).

Info

System Information Export

The System Information Export feature lets you generate an HTML (text) document that details system hardware, software and cur-

rently loaded Show file configurations. This document can be read by any Internet browser, such as Internet Explorer, Mozilla Fire-

fox, Safari, or Chrome.

The System Information document can be sent directly to production or rental companies to describe your exact system needs; al-

ternately, the information can be re-formatted as desired by copying and pasting the data into a word processing or spreadsheet ap-

plication.

To export VENUE System Information:

1 Insert a USB storage device into any available USB port on the S6L control surface.

2 Go to Options > System.

3 Select the Info button.

4 Do any of the following:

• If you have more than one USB storage device connected, make sure the correct USB device is selected. If it is not, select Next

Disk to cycle through each available disk until the correct one is selected.

•Select

Save to proceed and export system info to the selected USB disk.

•Select Cancel to dismiss the dialog without exporting.

5 Select OK to confirm the export procedure.

You can now remove the USB device —from there, you can transfer the exported file to a personal computer for printing, format-

ting, archiving or distribution.

Update

The Update button is used to perform software updates on your system, and to install ECx Ethernet Control host software. Updates

performed using the Update button are distinct from System Restores and Software Updates.

Lock

You can lock and hide surface and on-screen controls.

To engage System Lock:

1 Go to Option > Systems.

2 Select the Lock button in the System section.

3 In the dialog that appears, select Lock.

On-screen, an Unlock button appears in the lower right corner in front of a dimmed background image.

To unlock the system (disengage System Lock):

 Do either of the following:

• Press and hold the Cancel switch on the S6L control surface for two seconds.

– or –

•Select Unlock in the lower right corner of the screen.

The patch list can also be exported separately (for more information, see

Patch List Export).

The Unlock button is hidden after a few seconds. Touch the screen, mouse or keyboard to bring it back.

Options 332

System Status while Locked

GPI

All system GPI inputs and outputs are disabled while the system is locked.

Footswitches

All Footswitch inputs are disabled while the system is locked.

Events

All Event triggers and actions are disabled while the system is locked.

MIDI and Time Code

While the system is locked:

• Snapshots continue to be recalled via MTC/LTC, either internally or externally generated.

• The system continues to respond to snapshot changes via incoming MIDI program change commands if the Snapshots Re-

spond option is selected on the Options > Snapshots page.

• The system continues to send MIDI program changes when a snapshot is recalled if the Snapshots Send option is selected on

the Options > Snapshots page.

• The system continues to send MIDI messages stored within snapshots, provided the MIDI data type is scoped.

Customizing the System Lock Display

You can manually add one or more custom images to display during System Lock, rather than the default Avid logo background.

Multiple images are displayed one after the other for 20 seconds in a random order. (Pressing the Spacebar advances to the next im-

age immediately.)

To install custom System Lock images:

1 Make sure you have connected a keyboard and trackball (or mouse) the S6L control surface.

2 Copy a BMP or JPG image file to a USB storage device. (For optimal results image resolution should be 1920x1080; smaller

or larger images can be used, but will be centered or scaled, respectively.)

3 Put the system into Config mode.

4 Go to Options > System, Ctrl-click the ShutDown button, confirm you want to Exit to the Desktop.

5 Copy the image from your USB storage device to the following location on the system drive:

User Data(D):\D-Show\Images.

6 Double-click the Return to VENUE software icon on the Desktop to restart VENUE software.

Troubleshooting

This section provides the following troubleshooting options:

Clear Console

The Clear Console button resets all parameters on all channels to their factory default settings.

Run System Test

System Test is hardware diagnostics software for the system. Not all versions of VENUE software provide Sys-

tem Test in

Options > System.

Only use System Test at the request of a qualified VENUE technician to diagnose specific hardware problems.

VENUE Software

This shows the version of VENUE software currently installed on your S6L system.

MTC/LTC can be disabled using the CHASE MTC/LTC button on the Snapshots page. Also, the sending and receiving of MIDI

data can be turned off by deselecting the MIDI options on the Options > Snapshots page.

To restore the default Avid logo Lock screen, delete any custom images from the Images folder.

Performing a Clear Console also resets the time code start time to the default of 01:00:00:00, and generates a new (default)

OnStagePassword.example.txt file.

Options 333

Buses

The Buses tab lets you customize characteristics for the Aux, Solo, Matrix, and Main buses.

Auxiliaries

These options and indicators let you designate pickoff point of the Aux Sends feeding Aux outputs. Auxes are oriented vertically

in columns, and the channel number of the Aux is shown at the top of the column.

Mono/Stereo Indicator

Shows whether the Aux output is mono (single yellow circle) or stereo (interlocking green circles). Mono

Auxes can be combined into stereo channels using the Make Stereo command (see

Make Selected Mono Strips Stereo/Make Se-

lected Stereo Strip Mono).

Pickoffs

These options let you designate the pre-fader pickoff point feeding each bus. Choices include Pre-EQ, Pre-EQ Post-Mute,

Pre-Mute, and Pre-Fader (post-mute).

Aux Select Buttons

These buttons let you access the pickoff options of the Aux outputs indicated on the button. Any Aux outputs

currently unavailable are greyed out in the grid.

Follows Channel Pan

Each channel can be panned independently within each stereo Aux, or configured to follow the channel pan

by enabling the Follows Channel Pan option.

Buses tab of the Options tab

For more information on Aux/Variable Group pre-fader pickoff points, see

Selecting Aux Pre-Fader Pickoff Points.

Options 334

Solo and Monitor Operations

These settings customize Solo and Monitor bus mode and operation. See Configuring the Monitor Buses and Solo Options for

more information.

Headphones

These settings let you set the Monitor bus that feeds each S6L control surface front-panel headphone output. With S6L-16C, a sin-

gle headphone output (Phones) is available.

Panning (Mains Center Divergence)

When the Main buses are set to L–C–R (Left-Center-Right) mode, the Center Divergence setting determines the amount of cen-

ter-panned signal sent to the center output.

 When Center Divergence is set to 100%, a channel panned to center is sent to the center output only.

 When Center Divergence is set to 0%, a channel panned to center is sent equally to the left and right outputs only (phantom cen-

ter).

 A Center Divergence setting between 0% and 100% sends a center-panned channel to the left, center, and right outputs with the

center channel more prominent as the value increases towards 100%.

To set Center Divergence:

1 On the external screen, go to Options > Buses.

2 In the Panning section, select in the Center Divergence field and drag up/down to increase/decrease the value (or type in a new

value).

3 Press Enter or Return on your keyboard to confirm the setting.

Monitor bus options on the Options > Buses tab

Options 335

Pickoffs

The Pickoffs tab lets you control the bus pickoff point on input strips. The Pickoffs tab also provides master control for Delay Com-

pensation.

Input Channel Pickoff Point

Set the global Input Channel Pickoff Point by selecting Pre-Fader or Post-Fader.

Delay Compensation

Three settings for Delay Compensation are provided, as follows:

Off

No Delay Compensation is applied.

Mix Only

VENUE automatically compensates for delays incurred by the use of plug-ins.

Mix and Inserts

VENUE automatically compensates for delays incurred by the use of plug-ins.

Pickoffs tab of the Options page

Delay Compensation can be set in either Show or Config mode.

When Delay compensation is set to Mix & Inserts, inserts on Auxes will be compensated. This may cause phase issues with some

configurations and routing based on legacy (pre-S6L) systems.

Options 336

Snapshots

The Snapshots tab provides several snapshot preference settings to optimize snapshot operation.

Snapshot General Preferences

The following settings are available in the Snapshots tab.

Center Last Recalled Snapshot

Manages the display of the Snapshots list so that the last recalled snapshot is always centered

vertically, letting you maintain display of adjacent snapshots in the list.

Confirm Snapshot Recall

When this setting is enabled, a confirmation dialog appears when any snapshot is recalled asking to

confirm the operation. When not enabled, recalling snapshots requires no confirmation.

Enable Strip Control on Snapshots Tab

Allows adjustment of faders, Solo, Mute, and Safe controls on-screen in the Snapshots

tab Channel Strip Controls. Disable this setting to preserve legacy behavior.

Crossfade Pan, Balance, and Width

All Pan, Balance and Width parameters follow the default snapshot crossfade time.

Default Crossfade Time

Defines the length of time it takes to crossfade between fader levels when recalling snapshots. Maximum

crossfade time is 99.9 seconds.

PRE

The options in the PRE section let you specify which parameters are recalled with Snapshots whose scope includes Pre settings. Se-

lect to toggle whether recalled Input snapshot data includes the following:

• Gain, Pad, and Phase

• +48V (phantom power)

For more information on using snapshots, see

Snapshots.

Snapshots tab of the Options page

Delay is stored as a unique (discrete) data type for each channel.

Options 337

Aux Scope Configuration

These settings let you classify individual Aux Sends (including linked bus pairs) as monitor sends (“Aux Mon”) or as effects sends

(“Aux FX”) as they apply to the Snapshots Data Type Scope buttons.

This option is for organizing Aux Sends for snapshot control only, and does not directly affect Aux bus operation. You can use the

User Aux Scope tab (Snapshots > User Aux) to include or exclude individual Auxes from snapshots, in addition to their classi-

fication as Aux Mon or Aux FX.

Time Code

The Time Code options let you choose the current time code format, operational modes, frame rate, and Start Time.

Format

Choose between MTC and LTC for the current time code format. Only one time code format may be selected at a time.

Modes

Available time code modes for MTC are Off, Read (slave), and Generate (master). Available time code modes for LTC

are Off and Read (slave).

Frame Rate

This option sets the frame rate that is used when generating MTC.

Start Time

This option sets the start time that is used when generating MTC (default is 01:00:00:00). When chasing MTC or LTC,

make sure the Start Time is earlier than the start of incoming time code.

MIDI

These settings designate the MIDI channel on which Snapshots send or receive MIDI Bank Select and Program Change informa-

tion.

Snapshots Send on Channel

This option sets snapshots to send Bank Select and Program Change commands on a selected MIDI

channel. This provides a quick and easy way to send a MIDI command every time a snapshot is fired, without having to embed a

MIDI program change within each snapshot.

Snapshot Send on Channel does not need to be turned on in order to send other types of MIDI data that are embedded in snapshots,

such as note on/off or MMC.

Snapshots Respond to Channel

This option sets snapshots to respond to incoming Bank Select and Program Change commands

on the selected MIDI channel.

See

Synchronization for more information.

See Synchronization for more information.

Options 338

Misc

The Miscellaneous (Misc) tab provides utility and other settings.

Oscillator

The Oscillator provides selectable signal type, frequency (for Variable Sine) and signal level, as well as a master on/off switch. The

output of the Oscillator can patched to input channels using the Patchbay (see Patching Input Sources to Input Channels), and

can be routed directly to output buses using Route to Attentioned mode.

Routing the Oscillator to Output Buses

To route the Oscillator to an output bus:

1 Go to the Options page and select the Misc tab.

2 In the Oscillator section, select the Route button. The switch flashes to indicate Route to Attentioned mode.

3 Go to the Outputs page and attention one or more output fader strips. The attentioned fader strips flash.

4 In the confirmation dialog that appears, select Route to confirm your assignment, or select Cancel to cancel without changing

the current routing.

Configuring the Oscillator and Setting Level

The Oscillator is configured on-screen, and can be activating on-screen or from the Global Control encoders.

To configure the Oscillator:

1 Go to Options > Misc.

2 As a precaution, drag the on-screen Level encoder in the Oscillator section to set the Oscillator level to off before you go any

further.

Misc tab of the Options page

Signals are routed to output buses post-mute and post fader.

Options 339

3 Select the Signal pop-up and select from the following signal types:

• 100 Hz Sine

• 1 kHz Sine

• 10 kHz Sine

• Variable Sine

• Pink Noise

• White Noise

4 If you select Variable Sine, you can set the sine wave frequency with the on-screen frequency control (directly to the right of

the Signal pop-up).

5 Select the on-screen In button to activate the Oscillator.

Oscillator level appears on the Console Assignable Encoder whenever the Oscillator is In. If Talkback is engaged, it replaced the

Oscillator on the Assignable Encoder.

6 Slowly drag the on-screen Level encoder to set the Oscillator level.

Talkback

You can route a single Console analog input directly into any output bus using the Talkback circuit. This allows you to send Talk-

back to outputs (such as Auxes feeding stage monitors) without having to use a system channel.

Routing Talkback to Output Buses

To route Talkback to an output bus:

1 Go to Options > Misc.

2 In the Talkback section, select the Input Fed to Monitors and Masters pop-up and choose a hardware input source.

3 Select Route. The switch lights to indicate Route to Attentioned mode.

4 Go to the Outputs page and attention one or more output fader strips. The attentioned fader strips flash.

5 In the confirmation dialog that appears, select Route to confirm your assignment or select Cancel to cancel without changing

the current routing.

Choosing a Talkback input

Signals are routed to output buses post-mute and post fader.

Options 340

Activating Talkback Input and Setting Level

Talkback can be adjusted on-screen, or from the Assignable Encoder on the MLM.

To activate and set the level for Talkback input on-screen:

1 Go to Options > Misc.

2 Select the on-screen In button in the Talkback section to activate the Talkback input.

3 Drag the on-screen Level knob to set the Talkback level.

To activate and set the level for Talkback from the MLM:

1 In the Assignable Encoder (Touch and Turn) section of the MLM, press and hold the Talkback switch.

2 Rotate the Assignable Encoder to adjust Talkback level.

Setting Talkback Dim Level

When Talkback is sent directly to an Output bus, the bus program material (minus the Talkback signal) is automatically reduced

by the amount specified in the Dim Level setting.

To set the Talkback Dim Level:

1 Go to Options > Misc.

2 In the Talkback section, double-tap the Dim Level text box and enter a Dim Level value in the range –60 dB (maximum gain re-

duction) to 0 dB (no gain reduction).

2-Track Inputs

You can route a pair of Console or Engine analog or digital hardware inputs directly into output buses using the 2-Track inputs. This

allows you to send audio to the selected outputs without using a system channel. Use this feature to perform tasks such as confirm-

ing system audio output.

Routing 2-Track to Output Buses

To route 2-Track inputs to output buses:

1 Go to Options > Misc.

2 In the 2-Track section, select the Input Fed to Monitors and Masters pop-up and choose a hardware input source.

3 Select Route. The switch flashes to indicate Route to Attentioned mode.

4 Go to the Outputs page and attention one or more output fader strips. The attentioned fader strips flash.

5 In the confirmation dialog that appears, select Route to confirm your assignment or select Cancel to cancel without changing

the current routing.

Activating 2-Track Input and Setting Level

The 2-track input can be adjusted on-screen or from the Global Control encoders.

To activate and set level for the 2-Track inputs on-screen:

1 Go to Options > Misc.

2 In the 2-Track section, select the on-screen In button to activate the 2-track input.

3 Drag the on-screen Level knob to set the level.

You can designate a footswitch, Function switch or other triggers to control Talkback. For more information, see

Events.

Options 341

Talkback, 2-Track and Oscillator States When Loading Shows

When you load a Show file, Talkback, 2-Track and Oscillator controls are set to off (deactivated), regardless of their state when the

Show was last saved.

Tap Tempo

This section lets you enable and adjust the settings for Tap Tempo. Tap Tempo lets you quickly establish a system tempo to use as

a beat clock for delay and echo plug-ins that support Tempo Sync.

Channel Delay Unit Display

This section lets you set the display units on all applicable input and output delay controls. This makes it possible to set the delay

based on any of the following:

• delay time (in milliseconds)

• distance to the source (in feet or meters)

• number of samples of delay

System Clock

This section lets you set the date and time for the system, as well as display preferences. See Setting the System Clock for in-

structions.

Show Time in Status Area

You can choose to show time of day in the lower right corner of the screen in the Status display area.

To show time of day in the Status area:

1 Go to Options > Misc.

2 In the System Clock section, enable the Show Time in Status Area option.

3 Choose a format for the displayed time: 12 hour (AM/PM) or 24 hour.

Time of day is shown whenever the status of the plug-in racks is OK; plug-in rack status messages (if any) temporarily replace time

of day display to alert you to plug-in rack status.

Mouse

Pointer Speed and Mouse L/R Settings

This section lets you customize the response speed for the trackball (or mouse) and on-screen cursor, and reverse the left/right as-

signment of the Trackball buttons, from the Options > Misc page.

To customize Pointer Speed:

1 Go to Options > Misc.

2 Do any of the following:

• To adjust cursor speed, select the Pointer Speed pop-up menu and choose a higher value for faster response, or a lower value

for a slower response.

• To reverse the left/right assignment of the two Trackball buttons, select

Switch Buttons.

See

Tap Tempo for Plug-ins for more information.

Changing the system clock while using a timed iLok license (for a plug-in with a demo period, or for a plug-in rental) may expire

the plug-in authorization.

The system clock setting can affect data synchronization with portable storage devices. See

Synchronizing Settings, Shows

and Presets.

Options 342

Interaction

The Interaction tab lets you configure behaviors for attentioned and selected channels the Channel Safe Switches; light bar, OLED

and touch screen brightness; Metering; Ethernet Control and VENUE Link network settings; and Flex Channels and VCA config-

uration.

Channel Selection

Options in this section determine how channels are attentioned on the external screen and the MTS.

To customize control surface and screen interaction:

1 Go to the Options page and select the Interaction tab.

2 Set the following Channel Selection options:

Change Attentioned Channel By

Let you specify how a channel is attentioned on the external screen and the MTS. Select any or

all of the following options:

• Touching Input Faders

• Engaging Input Solos

• Touching Output Faders

• Engaging Output Solos

Attentioning Changes View Mode

When selected, updates the on-screen display to show the page for the currently attentioned

channel. When this option is deselected, the on-screen display does not update when a channel is targeted.

Attention Follows Select

When selected, any channel that is selected using the channel strip Select switch is also attentioned,

and is the default setting. When deselected, select and attention are decoupled.

Select Follows Solo

When selected, engaging Solo on any channel that is currently banked to the faders also selects that channel.

Solo can be engaged from the CFM, MTS, or external screen, but the channel must already be banked to the control surface to en-

gage local Select.

Position Safe When Spilling

When enabled, spilling a VCA, Aux, Group, or Matrix leaves the “master” (the channel from which

you initiated spill) in place on the surface, and spilled channels spill around the master. In effect, a “Spill Safe” state for the VCA,

Aux, Group, or Matrix. You can unspill by pressing Attention on that master strip. When not enabled, spilling a VCA, Aux, Group,

or Matrix replaces channels on as many strips as needed for the spill, except for any Bank Safed strips.

Interaction tab of the Options page (S6L-32D/24D)

Options 343

Meters Follow Selection (S6L-24C Only)

When the MTS is in Meters View it shows the channels on the faders directly below it

(OLEDs on those strips show a Selection outline). By default, Meters view on the 24C follows the Selected channel. You can

change this behavior to instead have the MTS Meters view be associated with whichever strips are banked below the MTS. This

setting is only available when using an S6L-24C control surface.

• When enabled, Meters View on the S6L-24C MTS associates with the bank of channels that has a channel selected locally.

• When not enabled, Meters View associates with the faders directly below the MTS.

Ethernet Control

Ethernet Control settings let you configure the following:

ECx Network Settings

These settings let you configure ECx Ethernet Control to remotely control of your system over a wired or

wireless Ethernet network. See the ECx Ethernet Control Guide for more information.

VENUE Link Settings

These settings let you configure VENUE Link to integrate a Pro Tools system with VENUE. For more in-

formation, see the S6L Live Recording Guide.pdf.

Metering

The following display options can be configured for meters. These options affect the 16 channel meters on the S6L control surface

and on-screen.

Meter Ballistics

This option lets you choose RMS or Peak ballistics for the control surface and on-screen meters.

RMS Ballistics

(Default) Meters follow the characteristics of a damped analog meter. In this mode, meter response and decay is

slower than in Peak mode, providing an average reading of the metered signal. A single LED shows the peak level for the desig-

nated Peak Hold Time.

Peak Ballistics

Meters follow the characteristics of a standard peak meter. In this mode, meter response is instantaneous, showing

the true peak level of the metered signal.

Metering Points

These options let you choose the point in the signal path where the signal is picked off for metering input and output channels.

Input Channels Metering Point

Choose one of the following options to set the input channel metering point:

• Top of Channel

•Insert Return

• Post-Fader (Post-Mute)

Output Channels Metering Point

Choose one of the following options to set the output channel metering point:

• Top of Channel

• Post-Fader (Post-Mute)

Meters Follow Selection setting in Options > Interaction on S6L-24C (only)

You can set Pro Tools metering to mirror VENUE metering.

Pro Tools Recording and Playback

Options 344

Clipping Indication

VENUE meter clip indicators are proximity warnings that show when an input or output signal reaches or exceeds the configured

Clip Margin.

Clipping can occur at several points throughout the signal chain. A clip at any one of these points is indicated by lighting the top

LED red on the meter. For more information on the location of clip detect points, refer to Chapter 26, “Signal Flow Diagrams.”

Clip Margin

Lets you configure the amount of headroom you want before clipping indication begins. Clip Margin is expressed as

dB below maximum (where maximum is a peak level of +20 dB VU).

Clip Margin can be set within a range of 0 dB to 30 dB below maximum, and is configured separately for inputs and outputs.

To set the Clip Margin:

1 Go to Options > Interaction.

2 Under Meter, enter values for Input Clip Margin Below Max and Output Clip Margin Below Max.

3 Press Enter to confirm the setting.

Clip Hold Time

The Clip Hold Time determines how long a clip indication lasts after the last clipped signal. Clip Hold Time can be set within a

range of 0–20 seconds.

To set the Clip Hold Time:

1 Go to Options > Interaction.

2 Under Meter, enter a value for the Clip Hold Time.

3 Press Enter to confirm the setting.

Channel Safe Switches

These options set the global Safe Mode that is enabled when you press a Channel Safe switch on the control surface, or select the

Channel Safe button on an external screen Inputs/Outputs page, and can be set to one of the following modes:

Automation Safes

Lets you suspend the effect of snapshots on all parameters of the channel. See Automation Safing Channels.

Solo Safes (Input Channels Only)

Prevents that channel from being implicitly muted when any other channel is soloed. See So-

loing Channels.

Bank Safes

Temporarily “locks” the location of key channels (such as a lead vocal or the Mains) on an S6L control surface chan-

nel strip. See Bank Safing Channels.

Fader Configuration

Configuring Flex Channels

The Flex Ch.1 and Flex Ch.2 pop-up menus provide the following options for each Flex Channel:

Mains L&R

Assigns the Mains L-R output to the Flex Channel, and is the default setting for Flex Channel 2. If the Mains L-R are

unlinked, you can target each Mains L and R bus individually on the Flex Channel by pressing the Attention switch on the corre-

sponding Flex Channel. The currently targeted Mains bus is indicated in the corresponding display. Solo is inoperable for Mains

when they are assigned to the Flex Channel.

Mains C/Mono

Assigns the C/Mono output to the Flex Channel. Solo is inoperable for Mains.

Monitor Bus A

Assigns level control for Monitor Bus A to the Flex Channel. This can be useful for monitor mixing workflows.

Monitor Bus B

Assigns level control for Monitor Bus B to the Flex Channel.

You can use Events to program a Function switch or other trigger to cycle through Input and Output Safe Switch modes. For

more information see

Events.

Options 345

Attentioned Channels

Assigns the currently attentioned channel to the Flex Channel, and is the default setting for Flex Channel 1.

Double-pressing a channel strip Attention strip “latches” that channel to the Flex Channel, until it is unlatched by another double

press.

Show VCA Contribution

This option lets you display a secondary, transparent fader cap on each on-screen fader strip that represents the effective channel

gain (channel gain plus associated VCA gain, if any). For more information, see Working with VCAs.

Use XY as Event Triggers/Actions

This option lets you reconfigure the channel X and Y switches to become available Triggers and Actions for Events. In their default

configuration, the X and Y switches in each channel strip toggle the corresponding Expander/Gate and Compressor/Limiter on/off,

respectively. When this option is enabled, the channel X and Y switches become available in the Switch (Type) list in the Trigger

properties Control Surface sub-menu and will no longer toggle their corresponding dynamics processor on/off, even if they are not

yet included in the definition of any specific Event.

VCAs Trim Aux Sends in SOF

This option lets you use VCAs to trim Aux send levels. By default this option is enabled. For more information, see VCAs Trim

Aux Sends in Sends on Faders Mode.

Lights

Console and LED/Display settings let you adjust the brightness of the following items:

Lightbar Brightness (S6L-32D/24D)

Adjusts the brightness of the built-in lightbar

Console Lamp Brightness (S6L-24C/16C)

Adjusts the brightness of any console lamps connected to the top-panel lamp con-

nectors.

Lightbar Color

Adjusts the color of the built-in lightbar.

Dim Consoles OLEDs After

Automatically dims the OLED displays on the control surface after the interval selected in the

pop-up menu.

Touch Screens

Adjusts the brightness of the MTS and any CTMs.

Consoles LEDs

Adjusts the brightness of the switch and encoder LEDs on the control surface.

Consoles OLEDs

Adjusts the brightness of the OLED displays on the control surface.

Use Simple OLEDs

Optimizes channel strip displays for easier viewing of channel name.

• When enabled, channel strip displays show channel Name, as well as Attention, Select, Sends on Faders and Flip status but

do not show channel numbers, hardware assignment, or level. When a fader is touched or moved, the fader value is displayed

under the channel name for as long as the fader is touched or in motion. The display of fader value times out after two seconds

of not being touched or moved. (Value is never shown when in Sends on Faders mode or Flip modes).

• When not enabled, channel strip displays show the complete set of channel information.

Touch any control on the control surface to undim the displays.

Channel display with Use Simple OLEDs disabled (at left) and enabled (at right)

Menu Safe

KICK2OT

CH2

0.0 dBS1AO2

Menu Safe

Kick 2 OUT

Options 346

Devices

The Devices tab lets you view and edit system connections, edit hardware settings, provides troubleshooting and diagnostic op-

tions, and provides network information.

1 – Engine

This section shows the E6L engine that is currently paired to the S6L control surface (and any other E6L engines detected on the

network). The current sample rate and word clock status (internal or external) is shown.

2 – HDX DSP

This section shows the DSP usage of the HDX TDM Mix Engine cards currently installed in the E6L engine.

To view a card’s DSP usage:

 Select a card number 1–4 to view that card’s DSP usage.

3 – Network

This section shows the devices currently connected to the AVB audio network, and cards currently installed in the E6L engine.

Network Cards

This section shows the three AVB-192 Network card slots in the E6L engine, and the AVB-192 Network cards that are currently

installed in them. You can manage and view the devices that are connected to each card, and give each AVB-192 Network card a

unique name.

To view and manage the devices connected to an AVB-192 Network card:

 Select a Network card. Devices available for connection are shown in the Available Devices column, and currently connected

devices are shown in the Connected Devices column. For example, select Ring 1 to see control surface and Stage I/O devices.

Select Ring 2 to see Local 16s (if any)

To rename an AVB-192 Network card:

 Double-tap a Network card, then enter a name.

Devices tab of the Options page

2 3

Options 347

Available Devices

This section shows the devices that are available to be connected to the selected Network card. A device is dimmed if that device

has already been assigned via another AVB-192 Network card in the currently paired E6L engine. Available Stage I/O devices are

assigned using the

CONNECT button.

To connect a device:

1 Enable Config mode.

2 In the Available Devices list, select a device.

3 Select the Connect button at the bottom of the Available Devices column.

4 In the Connected Devices column, select a flashing Stage slot to assign that device to that Stage slot.

Connected Devices

This section shows the devices that are currently connected to the selected Network card in the Network Cards section. Assigned

Stage I/O devices are unassigned using the DISCONNECT button.

To unassign (disconnect) a device:

1 Enable Config mode.

2 In the Connected Devices column, select the Stage I/O device you want to unassign so it is outlined in blue.

3 Select the Disconnect button at the bottom of the Connected Devices column.

4 – Information

This section shows information for the device that is currently selected in the Devices page, as follows:

DEVICE

Shows the device type, the assigned name (which can be changed), MAC address(es), IP address, and device firrmware

versions (where applicable).

SETTINGS

Shows device settings for the E6L engine and Stage I/O devices as follows:

• For E6L, the current sample rate is shown.

• For Stage 64 and Stage 32, shows the I/O cards currently installed in each slot. You can also set MADI Out sample rate (see

Configuring Stage 64 and Stage 32 MADI Outs), and enable DSI-192 card ADAT inputs (see Enabling ADAT Inputs).

Status

Provides hardware monitoring information, such as internal temperature and voltage.

To rename a device:

1 Select a device on the Devices page.

2 Select the DEVICE tab.

3 Double-tap the Name field, and enter a new name.

Device names are stored with the device (they are not saved or included in Show files). Custom names for Stage units are dis-

played in the Patchbay.

Configuring Stage 32 Settings

Unlike Stage 64 and Stage 16, Stage 32 slots can be used for input or output cards. The only restriction is that all input cards must

be installed in lower-lettered slots and physically above output cards. For example, in a base configuration Stage 32 the three input

cards are in slots A, B, and C, while one output card is in Slot D.

If your Stage 32 includes one or two DNT-192 Dante Network cards, configure the Stage 32 and each Dante card in the

Devices

tab for 16-in or 16-out operation. Note that if any output card (SRO-192 or DSO-192) is installed in a lower-lettered slot the

DNT-192 will auto-configure to 16 channels of output (this cannot be changed). If input cards (or another DNT-192 card) are in

lower-lettered slots, do the following to configure the DNT-192 card.

For additional information and requirements, see

Managing Stage I/O Unit Connections.

Options 348

To configure Stage 32 DNT-192 Dante I/O:

1 Make sure the system is in Config mode.

2 Select the Stage 32 in the AVAILABLE DEVICES column. If the Stage 32 is listed in the CONNECTED column, select it and

choose DISCONNECT to make it available in the AVAILABLE column.

3 In the INFORMATION section display the SETTINGS tab.

4 Use the selector at the bottom of the SETTINGS tab to configure the Stage 32 for the desired input/output arrangement (All Out-

puts, One Input, Two Inputs, Three Inputs, or All Inputs).

For example, in its base configuration Stage 32 includes three input cards and one output card. If you have removed the input and

output cards in slots C–D and replaced them with a single DNT-192 Dante card which you want to use for 16 channels of Dante

output, select

Two inputs.

5 In the OUTPUT SLOTS column that appears, use the selector for port C to choose Dante Output Card.

Slots C and D populate with Dante Output Card channels (1–8, and 9–16). To use this same Dante card for 16 channels of Dante

input, repeat the above steps but configure the Stage 32 for All Inputs, then select Dante Input Card for (Input) slot C.

Managing I/O from the Devices Page

You can identify connected Stage I/O devices and mute Stage and S6L control surface outputs from the Devices page.

Identifying Stage I/O Devices

The Identify button on an on-screen Stage device icon lets you identify the corresponding physical Stage unit.

To identify a connected Stage 64:

1 Select a Stage I/O unit on the Devices page.

2 Select the DEVICE tab.

3 Select the Identify button to latch the button on. The Identify button on-screen flashes, and the Power and Status LEDs on the

front panel of the corresponding Stage unit flash.

Configuring Stage 32 I/O in Options > Devices, Settings tab

Options 349

Muting Stage and S6L Control Surface Outputs

The Mute button on the Devices tab lets you mute all the outputs on connected Stage I/O units or the S6L control surface.

To mute the outputs of a Stage unit or S6L control surface:

1 Select a device on the Devices page.

2 Select the DEVICE tab.

3 Select MUTE. The Mute switch flashes while the outputs are muted, and the Mute LEDs on the Stage units or the S6L control

surface light solid red.

When engaging Global Mute on systems configured for I/O sharing:

• If only one E6L engine has claimed the Output slots in the selected Stage unit, all Outputs on the selected device are muted.

• If more than one E6L engine has ownership of Output slots in the selected Stage unit, the following dialog appears:

MUTE <Stage number>

MUTING this stage device will Mute outputs claimed by another E6L engine <user defined name>, are you sure you want

to MUTE this device?

Select OK to proceed and mute all outputs. Or select Cancel to cancel without affecting any outputs.

When a Stage 64 is muted manually from the Stage 64 front panel, all outputs are immediately muted and no confirmation dialog

or choices are presented.

AVB Network Card Port A and B LEDs

On-screen LEDs are provided on the Devices page to indicate the status of the physical A and B Network ports on each S6L system

component (S6L control surface, E6L engine, and Stage I/O units), as follows:

Plug-Ins

The Plug-Ins tab of the Options page is used to install plug-ins on the system. The Plug-Ins tab is not available in the VENUE

Standalone software.

LED Color Network Port Status

Green The port is connected and has a valid connection to another device.

Amber This port is connected and is part of a non-redundant daisy-chain.

Red flashing The port has lost a connection with a device. When canceled via dialog box, it turns off.

Off This port does not have a connection with a device. For example, it is a device at the end of a non-redundant daisy-chain.

See

Installing and Authorizing Plug-Ins.

Part IV: Recording and Playback

Pro Tools Recording and Playback 351

Pro Tools Recording and Playback

VENUE | S6L systems provide direct connection to up to two computers running Pro Tools software via AVB Ethernet. The Ether-

net AVB connection between your S6L system and Pro Tools provides up to 128 channels of simultaneous Pro Tools I/O. No ad-

ditional audio hardware is required to connect your S6L system to Pro Tools.

• This single Ethernet connection lets you record multi-track Pro Tools sessions of performances using a variety of S6L system

audio sources, including digital splits of your Stage inputs, channel Direct Outputs, and bus outputs.

• You can also play back multi-track audio from Pro Tools through your S6L system to integrate pre-recorded tracks with your

live mix, or to monitor your Pro Tools recording on your S6L system. When VENUE Link is enabled, the same connection

also lets you control the Pro Tools Transport from the S6L control surface.

• By combining recording and playback features, you can perform a true Virtual Soundcheck. Play back the tracks from a pre-

vious performance, adjust the mix, and have the changes remain when you switch back to your live mix.

You can connect up to two Pro Tools systems, using S6L control surface Network ports

C and D for fully redundant recording and

Virtual Soundcheck:

Redundant Recording

On both Pro Tools systems, enable VENUE Link and use Create Session from VENUE to be able to re-

cord your performance to both Pro Tools systems simultaneously (fully redundant recording of up to 128 tracks). By enabling

VENUE Link on both systems, both Pro Tools systems respond as one to Transport commands from S6L.

Virtual Soundcheck

When you switch the S6L system Input Source to Pro Tools to perform a Virtual Soundcheck, playback will

be available from the Pro Tools computer that was connected to the E6L engine last in AMS. When VENUE Link is enabled on

both Pro Tools systems they will both play back and cue in response to Transport commands from S6L, but audio from the

first-connected Pro Tools system will not be available (only audio from the last-connected Pro Tools system is recognized by S6L).

Simultaneous Record/Playback

If you need to simultaneously record to and play back from Pro Tools to integrate backing

tracks, count-offs or other material, use a single Pro Tools system connected to S6L Network port C, only.

For complete instructions on integrating Pro Tools recording and playback with your S6L system see the S6L Live Recording

Guide.pdf, available for download from your

Avid account and from the S6L Documentation article on our Knowledge Base.

Pro Tools Compatibility

Avid can only assure compatibility and provide support for hardware and software it has tested and approved.

For complete system requirements and a list of qualified versions of Pro Tools software, computers, operating systems, hard drives,

and third-party devices, visit:

www.avid.com/S6Lsupport

Important Requirements and Optimizations for a Mac with Pro Tools AVB

Make sure your AVB-compatible Mac and other equipment is qualified to support 128 Channel AVB with Pro Tools. For complete

compatibility requirements and optimization recommendations, see System Requirements for Pro Tools with S6L.

Do the following to optimize your Mac for 64- or 128-channel AVB recording and playback:

• Disable Wi-Fi, Airport, and Blue Tooth, and turn off Internet Sharing

• Disable Blue Tooth

• Turn off Energy Saving

• Disable Notification Center

Part V: Reference

Synchronization 353

Synchronization

This section describes how to synchronize S6L with external digital devices, and how to incorporate time code in your perfor-

mances.

Clock Synchronization Overview

Whenever two digital audio devices are connected together, care must be taken to ensure they are properly synchronized or the au-

dio will suffer from clicks, pops and distortion (even if the devices are operating at the same sample rate).

In simple configurations where you are synchronizing a single external device with a single S6L system, the device providing

source audio can serve as the master clock source, or the S6L system serve as the master clock source. In this type of simple con-

figuration you can use word clock, or you can synchronize your external device to the AES, ADAT, or MADI stream coming from

the S6L system.

In configurations where more than two digital devices are being connected, distributed word clock should always be used. In these

types of more complex configurations, use dedicated, “distributed” word clock connections from the master (or “house”) clock

source to each device.

S6L clock synchronization capabilities include the following:

Word Clock

You can sync external digital devices to your S6L system or sync your VENUE system to external digital devices,

such as a master (or “house”) clock or another digital console, using word clock. For instructions, see

Synchronizing External De-

vices using Word Clock.

Digital Audio (AES/ADAT, or MADI)

S6L AES/ADAT and MADI outputs can be used as the clock source for compatible external

devices (the external device must support syncing to these types of signals).

• You can utilize AES/ADAT clocking to sync external devices to S6L AES/ADAT outputs from the S6L control surface or Lo-

cal 16, or from DSI-192 Option cards, if any, installed in Stage 64 or Stage 32. See Synchronizing using AES/ADAT or

MADI Clock.

• You can utilize MADI clocking to sync external devices to MADI outputs from Stage 64 or Stage 32, or from MADI-192 Op-

tion cards (if any). MADI clocking requires high-quality MADI cables and other additional guidelines, especially in I/O Shar-

ing configurations. See Using MADI Audio to Synchronize a Single External MADI Device to S6L.

For best performance, or if in doubt about the capabilities of your external devices, use word clock to synchronize S6L with exter-

nal digital devices.

Time Code Overview

S6L also provides a set of synchronization features that allow automation and remote control of snapshots and triggering of external

devices when snapshots are recalled via SMPTE MIDI Time Code (MTC) or Linear Time Code (LTC). For more information, see

Time Code.

Do not “daisy-chain” word clock among multiple devices. Use a distributed word clock configuration.

Synchronization 354

Synchronizing External Devices using Word Clock

You can sync external digital devices to your S6L system, or sync your S6L system to external digital devices, using word clock.

Syncing External Devices to an S6L System using Word Clock

You can use either the E6L Word Clock Out, or a DSI-192 Word Clock Out (if your system includes any DSI-192 cards) to supply

word clock to external devices. When doing so, always observe the following guidelines:

• When using a single S6L system (non-I/O Sharing) never connect more than one S6L component Word Clock Out port to ex-

ternal devices. If you need to sync multiple external devices to S6L, use a distributed word clock source (do not daisy-chain).

See Using a Distributed External Master Clock to Synchronize Multiple Devices.

• The external device must be configured to sync to the word clock signal from S6L.

• If your system includes one or more MADI-192 MADI Option cards, never connect their

Word Clock Out ports.

• When multiple S6L systems are configured for I/O sharing, see

Important: Synchronization in Shared I/O Configura-

tions.

E6L Word Clock Out

 Connect a coaxial cable from the Word Clock Out on the E6L engine back panel to the word clock input on the external device.

Set the external device to sync to the word clock signal coming from the VENUE system.

DSI-192 Word Clock Out

 If your system includes a DSI-192 card, connect a coaxial cable from the Word Clock Out port on the card to the word clock

input on the external device. Set the external device to sync to the word clock signal coming from the VENUE system.

External device connected and configured to sync to incoming word clock, supplied by E6L Word Clock Out

External device connected and configured to sync to incoming word clock, supplied by DSI-192 Word Clock Out

At the time of this writing the built-in Stage 64 Word Clock connectors are not supported. Use the Word Clock Out on the

DSI-192 only.

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

OUT

WORD CLOCK

MADI-192

SRC

IN OUT IN WC OUTOUT

WORD CLOCK

OUT

External Device

Sync to: WC IN

ABCD E FGH JKLM

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

INPUT

DSI-192

OUT

WORD

CLOCK

WORD CLOCK

OUT

External Device

Sync to: WC IN

DSI-192

Option Card

Synchronization 355

Syncing an S6L System to an External Device using Word Clock

The S6L system automatically syncs to external word clock when connected to an external device sending a valid word clock sig-

nal. If the external word clock signal is interrupted, the S6L system defaults back to its internal word clock.

To sync the S6L system to an external device using word clock:

1 Make sure the outgoing word clock rate of the external device is set to match your VENUE system word clock rate.

2 Connect a coaxial cable from the word clock out port on the external device to the Word Clock In port on the E6L engine.

When a valid word clock connection is recognized by the S6L system EXT is indicated in the Status box, and WC Ext also ap-

pears next to the graphic of the currently paired E6L engine on the external screen Options > Devices page. That E6L becomes

the S6L Media Clock Master.

Important: Synchronization in Shared I/O Configurations

E6Ls in shared I/O configurations can send and receive word clock, letting you sync external devices to your networked S6L sys-

tem. However, only one E6L engine should ever be connected to an external word clock device.

I/O sharing configurations should be thought of as a single “system” in terms of clock. When you connect two E6L engines together

(where two S6L systems are sharing one or more Stage I/O units in a shared I/O configuration), only one of the E6L engines should

ever be connected to an external word clock device. This E6L engine then becomes the Master clock for the entire dual-system con-

figuration and distributes clock to all other S6L devices. If no external word clock device is connected, the E6L that comes online

first becomes the Master clock for the entire system.

See the following two sections for instructions and examples:

•

Syncing an External Device to S6L Word Clock when Configured for I/O Sharing

• Syncing S6L to External Word Clock when Configured for I/O Sharing

Only the E6L Word Clock In port should ever be connected to an external word clock source. Never use the Word Clock In port

on the Stage 64. If utilizing I/O sharing, be sure to follow the guidelines explained in Important: Synchronization in Shared

I/O Configurations.

External device connected and configured to provide word clock to S6L via the E6L Word Clock In

Never connect word clock from one engine to the other when sharing I/O, and always make sure that only one E6L engine's word

clock input is connected if using an external word clock when sharing I/O.

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

OUT

WORD CLOCK

MADI-192

SRC

IN OUT IN WC OUTOUT

WORD CLOCK

OUT

External Device

WC rate set to match VENUE

Synchronization 356

Syncing an External Device to S6L Word Clock when Configured for I/O Sharing

To sync an external device to S6L when configured for I/O sharing:

 Connect a BNC cable from a Word Clock Out port on one or both E6L engines on the network to the external device(s).

Syncing S6L to External Word Clock when Configured for I/O Sharing

To sync S6L to an external device when configured for I/O Sharing:

 Connect a BNC cable from the external device to a Word Clock In port on either (one) of the E6L engines on the network.

When the E6L to which the external device is connected detects a valid word clock signal, EXT is indicated in its Status box and

that E6L is automatically designated as the S6L Media Clock Master. When your S6L system is synced to an external device, the

E6L designated as the Media Clock Master cannot be changed.

Connecting Word Clock Out from both E6L engines when configured for I/O Sharing

At the time of this writing, the WC Out port on the MADI-192 MADI Option card (if any) is not supported and should not be used.

Never connect word clock from one engine to the other when sharing I/O, and always make sure that only one E6L engine's word

clock input is connected if using an external word clock when sharing I/O.

Connecting word clock output from an external device to an E6L Word Clock In (connect to either single engine, but never both)

At the time of this writing, the Word Clock In port on the Stage 64 is not supported and should not be used.

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

ABCD EFGHJKLM

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

ABCD EFGHJKLM

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

AVB-192

ACT SIG ACT SIG

ACTSIG ACTSIG

AVB-192

ACT SIG ACT SIG

WORD CLOCK

OUT

External Device

WC rate set to match VENUE

OUT

WORD CLOCK

OUT

External Device

WC rate set to match VENUE

OUT

WORD CLOCK

Primary network

Redundant network

Word clock

(required)

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

ABCD EFGHJKLM

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

ABCD EFGHJKLM

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

AVB-192

ACT SIG ACT SIG

ACTSIG ACTSIG

AVB-192

ACT SIG ACT SIG

WORD CLOCK

OUT

External Device

WC rate set to match VENUE

OUT

WORD CLOCK

OUT

External Device

WC rate set to match VENUE

OUT

WORD CLOCK

Primary network

Redundant network

Word clock

(required)

Synchronization 357

Using a Distributed External Master Clock to Synchronize Multiple Devices

When routing MADI or AES/ADAT audio between VENUE system(s) and multiple external devices, use a distributed external

master clock to provide a common word clock to each device.

In a distributed master clock configuration, a dedicated word clock connection is made from a master clock source (such as a clock

generator) to the VENUE system, and separate dedicated word clock connections are made from the master clock source to each

external device. All external devices must be set to a 96 kHz word clock rate.

You might have to configure the external devices to receive word clock. Check the device’s documentation.

Synchronizing using AES/ADAT or MADI Clock

S6L AES/ADAT and MADI outputs can be used as the clock source for compatible external devices (the external device must sup-

port syncing to these types of signals).

Synchronizing AES/ADAT Digital Audio Inputs (SRC)

The AES digital inputs on the S6L control surface and the DSI-192 card provide sample rate conversion on input, letting you con-

nect a wide variety of digital sources without having to be concerned with synchronization and clock connections. Sample rate con-

version does, however, induce processing delay to the incoming digital signal. (If the source device and S6L are already synchro-

nized via word clock then you can defeat SRC to minimize latency. )

Sample Rate Conversion Latency

The following table illustrates the sample rate conversion processing delay at various sample rates.

Distributed word clock

External Sample Rate SRC Process Delay

32 kHz 1.50 ms

44.1 kHz 1.09 ms

48 kHz 1.00 ms

88.2 kHz 0.848 ms

96 kHz 0.833 ms

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

OUT

WORD CLOCK

MADI-192

SRC

IN OUT IN WC OUTOUT

Master clock generator

Digital device 1

Digital device 2

Digital device 3

Word Clock

OUT OUT OUT OUT

Word Clock

Synchronization 358

Working with DSI-192 Digital Inputs

On systems that include a DSI-192 card, you can manually disable the SRC on AES input pairs, and you can designate the ADAT

optical port on the card as the active input source on the card on the external screen.

Defeating SRC on a DSI-192 Inputs

You can manually disable SRC on each DSI-192 AES input, or on all ADAT inputs to ensure the lowest possible latency.

To disabled SRC on a DSI-192 AES channel pair:

1 On the external screen, go to the Inputs page.

2 Attention the channel whose source is the DSI-192 input for which you

want to defeat SRC.

3 Select the SRC OFF button in the Input section so it lights (the same

LED on the DSI card lights to indicate SRC is disabled).

Enabling ADAT Inputs

You can designate the ADAT optical port as the active input source on the card. When ADAT inputs are enabled, AES inputs are

not operative. When SRC is enabled, at 48 kHz the ADAT inputs can receive eight channels of audio, 4 channels at 96 kHz, and

two channels at 192 kHz.

To enable ADAT inputs:

1 On the external screen, go to the Devices page.

2 Put the system into Config mode.

3 In the Connected Devices column, select the Stage 64 in which the DSI-192 card is installed so it is highlighted in blue.

4 In the Information section, select the Settings tab.

5 Next to the DSI card, select the AES/ADAT pop-up menu, and choose one

of the following options to enable ADAT inputs:

• ADAT 48K 8 ch

• ADAT 96K 4 ch

• ADAT 192k 2 ch

The ADAT source LED lights on the DSI-192 card. When the DSI-192 detects

a valid ADAT signal, the

Lock LED lights on the DSI-192 card.

SRC OFF button

DSI-192 card AES/ADAT pop-up menu

Synchronization 359

Synchronizing MADI Devices

Whenever two MADI devices are connected together, care must be taken to ensure they are properly synchronized or the audio will

suffer from clicks, pops and distortion (even if the devices are operating at the same sample rate).

• In simple configurations where you are clocking a single external device with a single S6L system, the device providing

source audio (whether S6L or the external device) can serve as the master word clock source.

• When two S6L systems are exchanging MADI, special word clock requirements apply.

• When sending MADI from S6L to an external MADI device, synchronization can also be achieved by configuring that exter-

nal device to clock to the incoming MADI signal.

• In configurations where more than two digital devices are being connected, distributed word clock should always be used. In

these types of more complex configurations, use dedicated, “distributed” word clock connections from the master (or

“house”) clock source to each device. For more information, see

Using a Distributed External Master Clock to Synchro-

nize Multiple Devices.

This section shows the following example configurations:

•

Using Word Clock to Synchronize Two VENUE Systems Exchanging MADI (Non-I/O Sharing)

• Synchronizing Two VENUE Systems Exchanging MADI in I/O Sharing Configurations

• Using MADI Audio to Synchronize a Single External MADI Device to S6L

Not all devices support all of these synchronization methods, so you should consult the user guide for your MADI device in order

to determine its capabilities.

Using Word Clock to Synchronize Two VENUE Systems Exchanging MADI (Non-I/O Sharing)

When using MADI to or from two VENUE S6L systems that are not configured for I/O Sharing, one of the systems must provide

word clock to the other system. Once connected, the S6L system receiving word clock detects it automatically.

Do not attempt to sync an S6L system to incoming MADI from another S6L system; use word clock instead.

To synchronize two discrete (non-I/O Sharing) VENUE systems:

 Connect the coaxial cable from the WORD CLOCK OUT port on one of the VENUE S6L systems to the WORD CLOCK IN

port on the other VENUE system.

The VENUE system receiving word clock auto-detects word clock and displays EXT in the Mode box on-screen.

Do not “daisy-chain” word clock among multiple devices. Use a distributed word clock configuration.

Connecting Work Clock between two independent (not I/O Sharing) VENUE S6L systems exchanging MADI via MADI-192 MADI Option

Cards (E6L 1 Word Clock Out, at left, to E6L 2 Word Clock In, at right)

Never connect word clock from one engine to the other when they are connected for I/O Sharing. If using an external word clock

to distribute master clock, always make sure that only one E6L engine's word clock input is connected to that external, distributed

word clock source. For more information, see

Important: Synchronization in Shared I/O Configurations.

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

MADI-192

SRC

IN OUT IN WC OUTOUT

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

MADI-192

SRC

IN OUT IN WC OUTOUT

Word clock

MADI (coaxial)

Synchronization 360

Synchronizing Two VENUE Systems Exchanging MADI in I/O Sharing Configurations

If MADI is being exchanged between two VENUE S6L Systems in an I/O Sharing configuration, there must be no word clock con-

nection between engines (Internal sync, as shown in the figure below).

If you are also connecting external digital devices, there should be a single external word clock connection from a distributed mas-

ter word clock source (recommended) or from a single external device to one E6L Word Clock input only.

Using Word Clock to Synchronize a VENUE S6L System and Another MADI Device

When using MADI to connect your VENUE S6L system to a single external MADI device such as a digital mixing console, the

VENUE system can receive or provide word clock.

To synchronize a VENUE S6L system to a single external MADI device using word clock:

 Connect a coaxial cable from the word clock out of the external MADI device to the WORD CLOCK IN port on your E6L en-

gine.

The external MADI device must be set to send 96 kHz word clock rate to your VENUE S6L system. The VENUE system auto-de-

tects external word clock and displays EXT in the Mode box on-screen. For an example diagram, see

Syncing an S6L System to

an External Device using Word Clock.

To synchronize a single external MADI device to a VENUE S6L system using word clock:

 Connect a coaxial cable from the WORD CLOCK OUT port on your E6L engine to the word clock in port on your external

MADI device. For an example diagram, see Syncing External Devices to an S6L System using Word Clock.

The external MADI device may need to be configured to receive the 96 kHz word clock rate provided by the VENUE S6L system.

Check the device’s documentation.

Connecting MADI audio between two VENUE S6L systems configured for I/O Sharing, with no external word clock

Never connect word clock from one engine to the other when sharing I/O, and always make sure that only one E6L engine's word

clock input is connected if using an external word clock when sharing I/O.

At the time of this writing, the WC Out port on the MADI-192 MADI Option Card is not supported and should not be used.

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

ABCD EFGHJKLM

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

ABCD EFGHJKLM

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG +48V

INPUT

SRI-192

SIG +48V

INPUT

SRI-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

SIG MUTE

MUTE

SIG

OUTPUT

SRO-192

AVB-192

ACT SIG ACT SIG

AVB-192

ACT SIG ACT SIG

MADI-192

SRC

IN OUT IN WC OUTOUT

MADI-192

SRC

IN OUT IN WC OUTOUT

MADI-192

SRC

IN OUT IN WC OUTOUT

MADI-192

SRC

IN OUT IN WC OUTOUT

Primary network

Redundant network

MADI (coaxial)

(required)

Synchronization 361

Using MADI Audio to Synchronize a Single External MADI Device to S6L

If your external device supports it, you can use the MADI signal from Stage 64, Stage 32, or MADI-192 MADI Option cards (if

any) to provide clock to your external MADI device. The device must be configured to sync to the incoming MADI signal. Refer

to the documentation for the device.

If your S6L systems are configured for I/O sharing, be sure to read and follow the guidelines in Important: Synchronization in

Shared I/O Configurations.

For additional information about MADI for recording, playback, and Virtual Soundcheck, see the VENUE S6L Live Recording

Guide.pdf.

External device connected and configured to sync to incoming MADI, supplied by MADI-192 MADI Option card MADI OUT

Only use high-quality BNC cables when attempting to use MADI sync. Lesser quality cables are susceptible to drop outs and loss

of sync.

OUT

NETWORK

MASTER 1

WORD CLOCK

UTIL

EXPANSION

OKOK

AVB-192

ACT SIG ACT SIG

MADI-192

SRC

IN OUT IN WC OUTOUT

MADI-192

SRC

IN OUT IN WC OUTOUT

MADI

OUT

MADI-192 MADI Option Card

MADI OUT

WORD CLOCK

External Device

Sync to: MADI IN

MADI

OUT

Synchronization 362

Time Code

S6L provides a set of synchronization features that allow automation and remote control of snapshot and triggering of external de-

vices when snapshots are recalled via SMPTE MIDI Time Code (MTC) or Linear Time Code (LTC).

Automating Recall of Snapshots with Time Code

You can automate the recall of snapshots with MTC and LTC. The VENUE system can trigger snapshots with internally generated

MTC, or it can read incoming MTC or LTC from an external source.

Generating MIDI Time Code

You can set the VENUE system to generate MTC and automate the recall of snapshots based on MTC playback.

To generate MTC from the VENUE system:

1 On the external VENUE software screen, go to Options > Snapshots.

2 Enable Config mode.

3 Under Time Code, select MTC.

4 Select Generate. MTC generator (MTC GEN) controls appear in the banner display at the bottom of the screen.

5 Choose the MTC Frame Rate from the Frame Rate pop-up menu (24 fps, 25 fps, 30 fps drop, or 30 fps non-drop).

6 If you want MTC playback to start at a different time than the currently displayed time, enter a start time in the Start Time field,

and press Enter.

The custom start time is stored in the Show file.

7 Control MTC playback from the MTC generator controls by doing any of the following:

• Start MTC playback by selecting the Play button.

• Pause MTC playback by selecting the Pause button.

• Stop MTC playback and reset to the Start Time by selecting the Stop button.

For a diagram showing LTC and MTC ports, see

S6L Control Surface Connections.

MTC selected as the Time Code Format

MIDI Time Code set to Generate (left) and the MTC generator controls (right)

Performing a Clear Console resets the start time to the default of 01:00:00:00.

Synchronization 363

Configuring S6L to Slave (Chase) External Time Code

The VENUE system can slave to external MTC or LTC and automate the recall of snapshots based on the incoming time code. In-

coming time code can also be used as a Trigger in Events. VENUE automatically detects the frame rate of the incoming time code

when enabled. The following frame rates are supported: 24 fps, 25 fps, 30 fps drop, or 30 fps non-drop.

To configure S6L to slave to external time code:

1 On the external software screen, go to Options > Snapshots.

2 Do one of the following:

• To chase to incoming MTC, under Time Code Format, select MTC.

• To chase to incoming LTC, under Time Code Format, select LTC

3 Select Read. A time code display appears at the bottom of the screen.

The time code display indicates the following:

• When external time code is not present, the display shows a series of dashes.

• When external time code is present, the current time code value is shown in green.

• When time code is non-drop frame, HMSF separators are colons; when drop frame, HMSF separators are semicolons.

Snapshot Time Code Display

When the system is set to generate or read time code, the Snapshots list shows time code values and a green Recall Enable indicator

for each snapshot entry.

Assigning Time Code Values to Snapshots

With the S6L system set to generate or read time code, you can assign time code values to snapshots by entering values manually,

or by capturing time code playback values.

Manually Assigning Time Code Values to Snapshots

To manually assign an time code value to a snapshot:

1 In the Snapshots list, double tap the time code value you want to change.

2 Do one of the following:

• From the keyboard, type a new value.

– or –

• Press the Left and Right Arrow keys to move the cursor between number fields, and the Up and Down Arrow keys to increase

and decrease the selected value.

3 Press Enter or select another snapshot time code value to accept the entry.

Time Code display (drop frame LTC shown)

Snapshots list showing time code values and indicators

Synchronization 364

Capturing Time Code Values in Snapshots

To capture the current time code value in a new snapshot:

1 With the system in Read or Generate mode, start time code playback.

2 Do one of the following:

• During playback, select the New button.

– or –

• Pause playback at the time code value you want to capture, and select the New button.

A new snapshot appears with the time code value at the time of creation.

To capture the current time code value in an existing snapshot:

 Tap-and-hold (right click) the snapshot in the Snapshots list and choose Set Time Code To from the menu.

The time code value is updated to the currently displayed value.

Sorting Snapshots by Time Code Value

You can sort snapshots in the Snapshots list by time code value, so that they appear in chronological order.

To sort snapshots by their assigned Time Code value:

 Tap-and-hold (right click) any snapshot in the Snapshots list and choose Re-Sort All By Time Code from the menu.

Enabling Snapshots for Automated Recall

With time code values assigned to snapshots, you can then enable individual snapshots for recall with time code playback.

To enable snapshots for automated recall with time code:

 Select the Time Code Recall Enable indicator on the right side of the Snapshots list. The indicator turns bright green to indicate

that the snapshot is enabled for recall.

Snapshot Chase to Time Code

With snapshots enabled for automated recall, the Chase function needs to be engaged to allow automated recall to occur. When

MTC is selected the button appears as Chase MTC. When LTC is selected, the button appears as Chase LTC.

To initiate automated recall of snapshots:

1 Make sure you have followed the instructions in

Configuring S6L to Slave (Chase) External Time Code.

2 Select the Chase MTC/LTC button so that it is highlighted.

3 Begin time code playback by starting the internal generator (if set to MTC Generate) or the external device (if set to Read).

When a recall-enabled snapshot’s time code value is reached, the snapshot is recalled.

The Chase MT/LTC button can be used to quickly take VENUE system offline from time code-triggered recall in performance in

the event of a change in timing, such as a missed cue or dropped verse. You can then advance manually to an appropriate snapshot,

and re-enable

Chase MTC.

When chasing to MTC, snapshots will always recall in chronological order, regardless of their order in the Snapshots list.

Make sure the Start Time (Options > Snapshots) is earlier than the beginning of incoming time code.

Snapshot modes can affect MTC recall. For more information, see

MTC/LTC and Other Online Event Triggers.

VENUE systems do not chase up to the current time code value. If you start playback in the middle of a snapshot sequence, any

prior snapshots will need to be recalled manually to update the system before beginning time code playback. For more infor-

mation, see

Recalling Snapshots.

Synchronization 365

Remote Control of Snapshot Recall

The VENUE system can be set to recall snapshots in response to MIDI control messages sent from an external device such as an

AV controller system. You can set the system to respond to control messages sent on any one of 16 available MIDI channels.

The following information describes legacy snapshot recall via MIDI Bank Select and Program Change messages, which can recall

Parent or unaffiliated snapshots but not Child or Momentary snapshots. You can instead use MIDI Input to trigger recall of any

snapshot using

Events.

Using MIDI Bank Select and Program Change to Recall Snapshots

Snapshots are recalled when their snapshot number (1–999) is received in the form of MIDI Bank Select and Program Change mes-

sages. (See Table 7 on page 365.)

To enable recall of snapshots from an external device:

1 On the external software screen, go to Options > Snapshots.

2 Under MIDI, select the Snapshots Respond to Channel option, and choose the MIDI channel from the corresponding pop-up

menu.

The system listens on the specified channel for Bank Select and Program Change messages.

The MIDI Snapshot Output Safe option (Options > Snapshots page) does not affect this option. You can only turn off this feature

by de-selecting the “Snapshots Respond to Channel” option.

Table 7. MIDI Bank and Program Numbers for Snapshots

Bank Program Snapshot Number

0 0–127 001–128

1 0–127 129–256

2 0–127 257–384

3 0–127 385–512

4 0–127 513–640

5 0–127 641–768

6 0–127 769–896

7 0–103 897–999

VENUE software stores Bank Select messages, so it is not necessary to send a Bank Select message prior to every Program

Change message. You only need to send a Bank Select message when you want to recall a snapshot in a different bank from the

previous snapshot.

Synchronization 366

Triggering of External Devices on Snapshot Recall

The VENUE system can be set to send MIDI Bank and Program Change messages whenever a snapshot is recalled, to trigger ex-

ternal devices whose cues are related to snapshots. You can set the system to send on any one of 16 available MIDI channels.

While it is possible to add Bank Select and Program Change messages to individual snapshots, this option lets you toggle messages

on and off for all snapshots in one step. Using this option also ensures that the Bank Select and Program Change messages corre-

spond to the snapshot number, even after snapshots are rearranged in the Snapshots list.

The Bank Select and Program Changes messages reflect the number (1–999) of the recalled snapshot. (See

Table 7 on page 365.)

To enable triggering of external devices when snapshots are recalled:

1 On the external software screen, go to Options > Snapshots.

2 Under MIDI, select the Snapshots Send on Channel option, and choose the MIDI channel from the corresponding pop-up

menu.

The VENUE system sends a Bank Select and Program Change message on the specified channel whenever a snapshot is recalled.

Sending MIDI Messages on Snapshot Recall

You can add up to 20 specific MIDI messages to each snapshot. These messages are sent whenever the snapshot is recalled. Send-

ing of the messages is enabled with the MIDI scope control in the Snapshots window. For more information, see

Adding MIDI and

Plug-In Data to Snapshots.

MIDI output is automatically suspended while in Preview mode. For more information, see Preview Mode.

You can also use

Events to trigger MIDI output.

VENUE systems always send a Bank Select message before every Program Change message, even if the bank number has not

changed from the previous snapshot.

The MIDI Snapshot Global Safe option (in the Recall Safe tab of the Snapshots page) does not affect this option. You can only

turn off this feature by de-selecting the “Snapshots Send on Channel” option.

Connecting and Using the MADI-192 MADI Option Card 367

Connecting and Using the MADI-192 MADI Option Card

If you have installed one or more MADI-192 MADI Option Cards in your E6L engine you can make audio connections between

your VENUE system and your MADI device.

You must establish proper synchronization between your VENUE system and any connected MADI devices. You may or may not

need to make additional connections. See

Synchronizing MADI Devices.

In VENUE Standalone software version 5.3 or higher, you can add MADI cards to the configuration in the EXPANSION CARDS

section of the Options > Devices page. You can then view MADI Device information and settings, but you cannot change settings.

Making Audio Connections

This section shows how to make the audio connections between your VENUE S6L system and your MADI device.

(For installation instructions, see the MADI-192 Card Installation guide, included with the card and available for download from your

Avid account.)

Sending Audio

The MADI-192 MADI Option Card provides two coaxial outputs. Both coaxial outputs of the MADI card are active at all times.

To connect a MADI device to your VENUE system:

1 Power up your VENUE system.

2 Connect to your MADI device using the coaxial MADI Output connectors of the MADI card.

Receiving Audio

When your VENUE system is receiving audio from a MADI device, both coaxial inputs on the MADI-192 MADI Option Card are

available at all times.

To connect a MADI device to your VENUE system:

1 Power up your VENUE system.

2 Connect to your MADI device using the coaxial MADI Input connectors of the MADI card.

S6L systems cannot clock directly to incoming MADI audio. You must establish proper synchronization between your VENUE

system and any connected MADI devices. See

Synchronizing MADI Devices.

Connecting and Using the MADI-192 MADI Option Card 368

Using MADI

You can use the MADI-192 MADI Option card with your VENUE S6L system in the following ways:

Assignable Mode

In this mode, all signal paths of the MADI-192 card are available in the VENUE Patchbay, and can be patched freely. The MADI

card can also be used for Hardware Inserts via MADI.

Pro Tools Input Mode

In this mode, Pro Tools is the main source of audio signals for VENUE and can be used in either Input or Virtual Soundcheck

mode. Either mode can be configured to receive audio via AVB, or via MADI.

Input Mode

In this mode, audio from your AVB or MADI device is the main audio source for your VENUE system. Stage inputs

on your VENUE system are replaced with inputs from Pro Tools via AVB or MADI, or from an external MADI device such as an-

other VENUE system or another digital mixing console. Input channel gain and other PRE parameters such HPFs can be stored in

Snapshots.

Virtual Soundcheck Mode

In this mode, pre-recorded audio from Pro Tools via AVB or via an external MADI device is the main

source of audio for VENUE. Stage inputs on your VENUE system are replaced with inputs from your external MADI device.

Changes made in Virtual Soundcheck mode, including Snapshot creation and modification, carry over when switching back to

Stage mode. Input channel gain changes made while in Virtual Soundcheck mode can be applied to Stage input channels when

switching back to Stage mode. On systems with three or more MADI Option cards, only MADI-192 MADI Option Cards installed

in slots 1 and 2 are available for Virtual Soundcheck.

Redundant Outputs

You can install multiple MADI cards and operate them in a redundant output configuration. For redundant recording, you can also

enable both AVB and MADI as Virtual Soundcheck Destinations.

Assignable I/O

For any system input channels that have Stage inputs assigned as their sources, assignable recording outputs are available, up to the

maximum number of available Pro Tools I/O channels. Assignable outputs can be used to send the Main L/R mix, submixes from

sources such as Matrix and Groups, the Direct Outs of S6L system I/O channels, and audience mics to Pro Tools.

For any system input channels not assigned Stage inputs as their sources, assignable Pro Tools inputs are available, up to the max-

imum number of available Pro Tools I/O channels. Assignable inputs can be used to monitor your Pro Tools recording on your S6L

system, or to incorporate pre-recorded audio tracks into your live mix.

Hardware Inserts

Any MADI IO on MADI Option cards in slots 1 and 2 become unavailable as hardware inserts while MADI is selected as a Virtual

Soundcheck Source or Destination.

For more information about gain, snapshots, and other aspects of Virtual Soundcheck, see the S6L Live Recording Guide.pdf.

Connecting and Using the MADI-192 MADI Option Card 369

Enabling Virtual Soundcheck Recording

You can enable direct digital splits by configuring the System Outputs setting in Options > System. By default AVB is the desig-

nated system output destination. You can change this to MADI, or BOTH, to designate the MADI card as a Virtual Soundcheck des-

tination. The Pro Tools tab of the VENUE Patchbay feeds the cards. Up to two MADI cards can be used for Virtual Soundcheck.

The pickoff point for each Stage input split is post-analog input gain, but pre-digital trim and channel processing, including the

channel HPF. Thus, the gain for any input channel sent to Pro Tools is dependent on the S6L system input gain setting for that Stage

input channel.

Recordings of direct digital splits form the basis of the Virtual Soundcheck workflow, and are also useful for capturing unprocessed

audio files of your Stage inputs for later mixdown and editing.

To enable Stage inputs:

1 Make sure the Stage inputs you are using are patched to the desired S6L system input channels in the Patchbay.

2 Put your S6L system into Config mode.

3 On the external VENUE software screen, go to the Options > System tab.

4 In the System Inputs section, make sure Stage is selected. If Stage is not selected, do the following:

•Select Edit.

•Select Stage.

•Select Apply.

Signals from any Stage inputs assigned to S6L system input channels are sent to the connected Pro Tools computer as direct digital

splits. The corresponding channels under the Pro Tools tab in the Patchbay are highlighted in purple to indicate they are in use as

digital split outputs and as Virtual Soundcheck inputs.

To configure Virtual Soundcheck Outputs:

1 Put your S6L system into Config mode.

2 On the external VENUE software screen, go to the Options > System tab.

3 Select Edit.

4 In the System Outputs section, choose one of the following from the Virtual Soundcheck Destination selector:

AVB

Splits are sent to Pro Tools via AVB.

MADI

Splits are sent to Pro Tools via the outputs on the MADI card.

Both

Splits are sent through both AVB and MADI.

5 Select Apply to apply your settings.

For complete instructions on setting up and using Virtual Soundcheck, see the S6L Live Recording Guide.pdf.

If you want to use VENUE Link for enhanced Virtual Soundcheck, it requires a dedicated Ethernet connection from port C on the

S6L control surface to the Pro Tools computer. For more information, see the S6L Live Recording Guide.pdf

Connecting and Using the MADI-192 MADI Option Card 370

Performing a Virtual Soundcheck using MADI-192

In Virtual Soundcheck mode, audio from your external MADI devices can replace the corresponding Stage inputs one-for-one, and

appear in place of those Stage Inputs in the VENUE software Patchbay. All changes (such as channel assignments, and input and

output processing) are carried over when you switch to Virtual Soundcheck mode, and the digital portion of the gain for each chan-

nel is preserved and applied to the incoming MADI signal. This results in the same apparent levels for both the MADI inputs and

the Stage inputs.

To perform a Virtual Soundcheck using MADI:

1 Do one of the following to put your system into Config Mode:

• Press the Config switch on the console.

• Double-click the Mode box in the bottom-right corner of the screen.

2 Go to the Options > System tab to access the System Configuration page.

3 Click Edit.

4 In the System Inputs section of the System Configuration page, click to enable Pro Tools.

5 Choose Virtual Soundcheck MADI from the Pro Tools selector.

6 Click Apply.

All S6L system input channels with Stage inputs assigned to them are replaced with their corresponding Virtual Soundcheck in-

puts from Pro Tools. Pro Tools icons appear in the Patchbay > Inputs tab patching grid for all assigned Stage inputs, indicating

that input sources for the affected input channels are now Virtual Soundcheck inputs from Pro Tools. Any MADI IO designated

as hardware inserts become unavailable as inserts (their patch assignments are retained).

If you change input routing when MADI inputs are active, those changes remain when you switch back to Stage input mode.

Virtual Soundcheck MADI option in the Pro Tools sector (Options > System)

Connecting and Using the MADI-192 MADI Option Card 371

Enabling Redundant Outputs

For redundant recording, you can enable both AVB and MADI as Virtual Soundcheck Destinations.

To enable redundant outputs:

1 Put your S6L system into Config mode.

2 On the external VENUE software screen, go to the Options > System tab.

3 Select Edit.

4 In the System Outputs section, choose Both from the Virtual Soundcheck Destination selector:

5 Select Apply to apply your settings.

Using MADI for Hardware Inserts

MADI IO can be used as hardware inserts, just like other supported system IO. Hardware inserts can be used for external processing

on individual input channels, Mains, Groups, Auxes, and Matrixes. To use external hardware as inserts, you must do the following:

• Connect external hardware

• Assign hardware inserts to channels

• Activate the insert

• Set the hardware insert location

For instructions, see

Hardware Inserts, and be sure to note the following about MADI availability with Virtual Soundcheck mode:

• Whenever a MADI card is enabled as a Virtual Soundcheck destination, its IO becomes unavailable for use as hardware in-

serts. Assignments are retained (but disabled) when Virtual Soundcheck mode is enabled, and are restored when exiting Vir-

tual Soundcheck mode.

Enabling redundant outputs (Both) for the Virtual Soundcheck Destination (Options > System)

Hardware Inserts 372

Hardware Inserts

This chapter explains how you can connect external analog and digital hardware to the analog and digital I/O on the S6L control

surface, Stage I/O units, Local 16, or E6L engine (if any MADI-192 MADI Option cards are installed) for use as hardware inserts.

Hardware inserts can be used for external processing on individual input channels, Mains, Groups, Auxes, and Matrixes. To use ex-

ternal hardware as inserts, you must do the following:

• Connect external hardware

• Assign hardware inserts to channels

• Activate the insert

• Set the hardware insert location

Connecting External Hardware

External hardware is made available to the system by connecting its inputs and outputs to input and output connectors on the S6L

control surface (all except S6L-16C), Stage/Local I/O unit, or E6L engine (if any MADI-192 MADI Option cards are installed).

Hardware inserts can then be inserted on channels similarly to inserting plug-ins.

To connect outboard gear for use as a hardware insert:

1 Connect the inputs of the external device to analog and/or digital output connectors 1–8 on the S6L control surface or Local 16.

2 Connect the outputs of the external device to the corresponding input connectors on the S6L control surface or Local 16.

For example, signal taken from S6L control surface AES Digital outputs 1/2 must be returned to S6L control surface AES Digital

input 1/2.

Using MADI-192 MADI Option Card IO for Hardware Inserts

If your system includes one or more MADI-192 MADI Option cards, you can use its inputs and outputs for hardware inserts from/to

the E6L engine. For details on configuring and using MADI Option card inserts, see the Using MADI for Hardware Inserts.

The S6L-16C control surface does not support IO connections for hardware inserts. Use Local 16 or Stage I/O instead.

Digital inputs on the S6L control surface and on the DSI-192 card offer sample rate conversion. For more information, see Syn-

chronizing AES/ADAT Digital Audio Inputs (SRC).

Hardware Inserts 373

Assigning Hardware Inserts to Channels

You can assign hardware inserts directly from the Inputs or Outputs page, or from the Patchbay.

To assign a hardware insert to a channel or bus:

1 On the external VENUE software screen, go to the Inputs or the Outputs page and attention the channel on which you want to

insert the external device.

2 In the Inserts section, do one of the following:

• Select the Hardware Insert pop-up menu and choose an insert destination directly from the menu. The name of the hardware

insert destination appears in the on-screen Hardware Insert button.

– or –

• Select the Hardware Insert button to “jump” to the Inserts tab of the Patchbay, and assign the insert from the Patchbay.

To assign a hardware insert from the Patchbay:

1 On the external software screen, go to the Patchbay page and select the Inserts tab. The Console hardware tab is shown.

2 Click a tab along the left side of the grid to show the desired channel types in the grid. If you jumped to the Patchbay from the

Inputs or Outputs page, the appropriate Channel Type tabs are automatically selected.

3 Touch in the channel grid to assign the hardware insert input/output (listed across the top) to the channel where you want to as-

sign the insert (listed on the left).

The Insert location is also displayed in the Hardware Insert pop-up in the Inserts section of the Inputs or Outputs page for the at-

tentioned channel.

Reassigning Hardware Inserts

If a hardware input is currently assigned to an input channel and then reassigned as a hardware insert, the gain on that input is au-

tomatically set to 0 dB. When reassigning a hardware input from an insert to an input channel, the gain setting for that channel is

automatically set to +10 dB.

Input and output levels to and from devices assigned as hardware inserts are automatically set to 0 dB, and cannot be changed

in VENUE. Set trims on the device itself.

Hardware Insert pop-up (left), Hardware Insert button to jump to the Inserts tab (right)

Assigning a hardware insert on the Inserts tab of the Patchbay I

Hardware Inserts 374

Activating and Bypassing Hardware Inserts

You can toggle hardware inserts in/out on-screen, and from the control surface using Events.

To activate or bypass a hardware insert on-screen.

1 Go to the Inputs or Outputs page and select the channel where you want to activate or bypass the insert.

2 Click the In/Out button for the HW insert. The button lights when the insert is activated (in circuit).

You can also define an Event to toggle a hardware insert in/out via a Function or other hardware switch, a fader or other continuous

control, MIDI input, or a system value. For instructions on how to create and define Events, see Events.

Setting the Hardware Insert Location

You can choose the location of the hardware insert in the signal path relative to the four plug-in inserts on a per-channel basis.

To set the hardware insert location:

1 Go to the Inputs or Outputs page and select the channel where you want to set the hardware insert location.

2 In the Inserts section, select the hardware insert indicator in one of the five available locations so that it lights red.

Before activating a hardware insert, be sure that you have connected the external unit to your S6L system. If you activate the

hardware insert and audio on that channel is not present, double-check your cabling to make sure it is connected correctly.

Activating a hardware insert

Any HW inserts on MADI-192 cards are unavailable when VSC MADI is enabled. For details on configuring MADI Option

card inserts, see the

Using MADI for Hardware Inserts.

Hardware insert indicator showing the hardware insert before the first plug-in (left), and after the first plug-in (right)

GPI Port Reference 375

GPI Port Reference

GPI Input Specifications

A 25-pin, male D-Sub connector provides a total of 8 General Purpose Interface (GPI) Inputs. GPI inputs have the following char-

acteristics:

• Inputs are logic inputs with pull-ups. They may be driven by logic outputs or contact closure to ground.

• Input signal range is 0 to 5.5V. The inputs are ESD protected.

• Input signaling uses standard 5C CMOS logic levels: 1.5 V or less for a logic low. 3.5 V or greater for a logic high.

• Inputs are compatible with 5V TTL (e.g. 74LS series) and 5V CMOS (e.g. 74HC series)

• Inputs provide an internal 5K ohm pull-up to +5V.

• All Inputs are referenced to the same internal ground, which is connected to AC safety ground.

GPI Input Connector Pin Assignments

Pinout for GPI Input Connector

GPI Input Connector Pin Assignments (DB25 male)

Pin Number Function Comments

1 Input 1 Logic level (TTL, CMOS) input with pullup

2 Input 2 Logic level (TTL, CMOS) input with pullup

3 Input 3 Logic level (TTL, CMOS) input with pullup

4 Input 4 Logic level (TTL, CMOS) input with pullup

5 Input 5 Logic level (TTL, CMOS) input with pullup

6 Input 6 Logic level (TTL, CMOS) input with pullup

7 Input 7 Logic level (TTL, CMOS) input with pullup

8 Input 8 Logic level (TTL, CMOS) input with pullup

14, 15, 16, 17, 18, 19, 20, 21 Ground All ground pins are connected together internally

9, 10, 11, 12, 13, 22, 23, 24, 25 Reserved Do not use

Pinout for S6L DB25M GPI Input port (looking at back of console)

1 2 3 4 5 6 7 8 910111213

14 15 16 17 18 19 20 21 22 23 24 25

GPI Port Reference 376

GPI Output Specifications

A 25-pin, female D-Sub connector provides a total of 8 General Purpose Interface (GPI) Outputs.

• Outputs are isolated, floating relay contacts (contact closure).

• Switched voltage is 200V max; 0.5A max.

• Switched voltage with respect to safety/chassis ground is 300V max.

GPI Output Power Specification

The GPI Output connector also provides +12VDC at up to 200 mA for powering external devices, such as relays or LEDs. The

ground return that is provided is the S6L internal system ground, which is connected to AC safety ground.

GPI Output Ground Connections

The GPI Outputs provided are isolated contact-closure style. Each GPI output is presented on a pair of pins. These two pins repre-

sent the two sides of a switch that can be opened and closed. If it is desired to drive a signal to ground, then one of the pins must

be wired to ground, and the other to the signal to be controlled.

GPI Output Connector Pin Assignments

DB25F Pinout

GPI Outputs can switch 500 mA maximum. This applies even to short term current surges. This limit can be exceeded when driv-

ing a capacitive or incandescent lamp load. An incandescent lamp may draw as much as ten times its steady state current when

first turned on. Therefore such lamps are typically not appropriate loads for the GPI Outputs, and should instead be controlled

by a secondary relay.

GPI Output Connector Pin Assignments (DB25 female)

Pin Number Function Comments

1, 14 Output 1 Floating contact closure output

2, 15 Output 2 Floating contact closure output

3, 16 Output 3 Floating contact closure output

4, 17 Output 4 Floating contact closure output

5, 18 Output 5 Floating contact closure output

6, 19 Output 6 Floating contact closure output

7, 20 Output 7 Floating contact closure output

8, 21 Output 8 Floating contact closure output

12, 13, 24, 25 +12V auxiliary power Maximum total load 200 mA

All +12V pins are connected together internally

9, 10, 22, 23 Ground for auxiliary power All ground pins are connected together internally

11 Reserved Do not use

Pinout for S6L DB25F GPI Output port (looking at back of console)

12345678910111213

141516171819202122232425

GPI Port Reference 377

GPI Wiring Diagrams

The following diagrams provide examples of GPI pinout and

wiring for the common uses. All diagrams are shown from the

rear (solder side) of the DB25 connector.

GPI Input Examples

The following diagrams provide simplified wiring examples

for a customer-provided DB25 female connector, to attach to

the male GPI In connector on the S6L control surface.

Wiring a Switch to Drive GPI

No ground reference is needed between systems.

Wiring a Relay to Drive GPI

No ground reference is needed between systems.

Wiring a Logic Signal to Drive GPI

Ground reference is required between systems

DB25F connector

GPI Port Reference 378

GPI Output Examples

The following diagrams depict wiring examples for a cus-

tomer-provided DB25 male connector, to connect to the female

GPI Output connector on the S6L control surface.

GPI Output Driving a Relay to Illuminate a Light

No ground reference is needed between systems.

GPI Output Driving and Powering an LED

Connect one side of the relay to Ground.

GPI Output Driving an Externally Powered LED

GPI Output Driving a Logic Input

Ground reference is required between systems.

DB25M connector

External

Power

Supply

DB25M connector

External

Power

Supply

–

V +

GPI Port Reference 379

GPI Output Driving a Relay Using an External

Power Supply

DB25M connector

External

Power

Supply

DB25M

Troubleshooting 380

Troubleshooting

This chapter provides troubleshooting and problem solving information. It includes a table of problems and solutions that provides

answers to common questions, explains on-screen text messages, and refers you to specific sections later in this chapter or else-

where in this guide for details and instructions.

Problem Solving

The following table provides descriptions of situations that may arise while operating a VENUE system and includes common

questions, symptoms and error messages, along with possible solutions.

Table 8. Troubleshooting Errors and Messages

Symptom or Message Possible Cause Solution

Faders, Switches, Modules, Channels, and Devices

Fader stuck Fader path was blocked during startup cali-

bration.

Reset the S6L control surface. See

Resetting Hardware

Components

Control surface controls

have stopped working

S6L control surface needs to be reset. Reset the console. See Resetting Hardware Compo-

nents

. If possible, wait for a silent portion of a performance

to avoid unexpected gain changes upon reset. For details.

If software is frozen, power cycle the system.

Bad or missing connection to the E6L

engine.

Check to make sure the cable connecting the console to the

E6L engine is properly connected and not damaged.

Fader Module, Channel

Knob Module, Master Live

Module has stopped work-

ing/lost connection

Network error See

Restarting Your System.

Channel Touch Module

(CTM) offline (Please Con-

figure Console message)

Network error See

Resetting Channel Touch Modules (CTMs).

Stage I/O is not passing

audio

Stage unit needs to be reset. See Resetting Hardware Components.

Or, power-cycle the Stage 64

Bad or missing connection to the E6L

engine, to another Stage unit, or to power.

Check to make sure the audio network cable connecting the

Stage unit to the E6L engine (or, if daisy-chained, to the

nearest Stage unit) is properly connected and not damaged.

Check power to the Stage unit.

Cannot assign Stage 64 Config mode is not enabled. Enable Config mode. See

Enabling Config Mode.

S6L control surface /O is

not passing audio

S6L control surface I/O needs to be reset. See Resetting Hardware Components.

Or, power-cycle the control surface.

Touch on external screen

is reversed with MTS, or

not operating at all

Touchscreens are not configured properly

See

Configuring S6L Master Touch Screen (MTS)

and External Monitor.

Previously connected

device is unavailable and

is grayed out in the

Options > Devices page

The device is no longer present. Touch-and-hold (right-click) the device graphic in the

Options > Devices page and choose Forget <device> to dis-

miss warning dialogs.

Bad or missing connection to the E6L

engine.

Check to make sure the cable connecting the device to the

is properly connected and not damaged, and that the device

is powered on.

Troubleshooting 381

Startup and Restarts

Repeated failures An incompatible plug-in, a corrupted data

file or application software, or a hardware

error.

Check to make sure you are using the most current versions

of all your plug-ins (check with the manufacturers). If failures

occur only when you try to use a certain plug-in, disable that

plug-in and see if problems go away. Try re-installing

plug-ins that are causing problems.

Determine if a certain Show file causes the system to fail

consistently. If so, delete that file and see if problems persist.

For additional options, see

Restarting Your System.

Clear the console from the Options > System page and see

if problems persist.

If necessary, you can reinstall VENUE software by doing a

System Update. If you suspect problems with the system

hard drive, or the system software, you can do a complete

restore (see the

VENUE S6L Installation Guide.pdf).

Power down all equipment and check all cards and cable

connections and power supplies.

Plug-Ins

The plug-in racks need to

be reset

The plug-in racks have gone offline, and

LOST is indicated in the Status box

on-screen. The racks go offline after some

conditions in which a plug-in or the DSP

host failure causes significant problems.

Follow the instructions on-screen to reset the racks (see

Resetting the Plug-In Racks).

One or more plug-ins are

unavailable

A Show was loaded that references plug-ins

which are unavailable on the current sys-

tem.

Install the plug-ins, if available (see

Installing and Autho-

rizing Plug-Ins

Remove or replace the plug-ins in the Show, or load a differ-

ent Show file.

A plug-in is not fully compatible and is caus-

ing failures.

Check all plug-ins to make sure you are using the most

recent versions. Go to Options > Plug-Ins and Click the

plug-in to display the version number.

Try disabling plug-ins one-by-one to see if doing so elimi-

nates problems (see

Enabling and Disabling Installed

Plug-Ins

Plug-in authorization dia-

logs appear every time the

system starts or restarts

A plug-in is installed that needs to be autho-

rized for demo or full use.

Click Quit to dismiss the authorization dialog and continue

starting up (the plug-in will be unavailable).

Click Try to use the plug-in for a limited time in Demo mode.

Click Authorize if you are ready to authorize a plug-in using

an iLok. (See

Installing and Authorizing Plug-Ins.)

A plug-in demo has expired. Uninstall the plug-in listed in the authorization dialog (see

Uninstalling Plug-Ins).

Table 8. Troubleshooting Errors and Messages

Symptom or Message Possible Cause Solution

Troubleshooting 382

Warning Dialogs

One or More Devices Have

Failed

Bad or missing connection Check connections to other components.

A device needs to be reset. Reset the device. If unable to reset the device, power cycle

the device.

Plug-In Racks Need Reset The racks have gone offline because a

plug-in has failed, or some circumstances

have caused the DSP engines to require a

reset.

Follow the instructions on-screen to reset the racks (see

Resetting the Plug-In Racks).

Console Connection Error Bad or missing connection Check Network connections to the E6L engine.

A unit needs to be reset. Reset the device. If unable to reset the device, power cycle

the device.

Date & Time Check System clock needs to be reset. Reset the system clock. See Setting the System Clock.

Sample Rate Conversion

Alert

SRC OFF LEDs flashing

(Systems with DSI option

only)

A sample rate mismatch or lack of clock has

been detected at a digital input.

No immediate action required; automatic sample rate con-

version maintains digital throughput, allowing you to check

settings and connections between VENUE and external dig-

ital devices later. For more information on digital connec-

tions and synchronization, see

Synchronizing

AES/ADAT Digital Audio Inputs (SRC)

Hardware Monitor Alert The system has detected a hardware com-

ponent that is performing above or below its

hardware specification.

Click HW Monitor to access the Hardware Monitor Window

for the device. See

Resetting Hardware Components.

A Device Has Been Lost A Stage 64 has been disconnected or has

lost power.

Check power and/or connection to the device.

If the device is not present, right-Click the graphic of the cor-

responding Stage 64 and choose Forget IO Box Assign-

ment.

Control Surface Module

Lost

Network error See

Restarting Your System.

Redundant Connection

Lost

If a primary and redundant audio connection

has been made to the device, one of the

connections has been lost.

Check the audio network connection to the device. If a

redundant connection is not present, press OK to dismiss

the dialog.

Engine Internal Switch

Warning

Internal switch in the E6L engine has mal-

functioned

Power-cycle the E6L engine

One or more Engine fans

have stopped working

One or more fans inside the E6L engine

have failed

When possible, check the internal fan connections.

2 fan blocks in the Engine

have stopped working.

Your Engine will now shut-

down to prevent overheat-

ing.

All fans inside the E6L engine have failed. The E6L engine will not operate unless at least one fan block

is operational. When possible, check the internal fan con-

nections, and replace the fans is necessary.

External power supply of

HDX card(s) is discon-

nected.

Power cable is not connected to one or

more HDX cards in the E6L engine.

Shut down the E6L engine and check power connections to

HDX cards. See the HDX-192 DSP Installation Guide for

instructions on accessing the HDX cards and their power

cables.

Unsupported HDX DSP

configuration detected

HDX DSP card may be installed improperly Make sure you have installed your HDX DSP card in the cor-

rect slot in the E6L engine. See the HDX-192 DSP Installa-

tion Guide for instructions on properly installing the HDX

cards.

HDX DSP card requires

update

The version of the firmware on an HDX DSP

card in the E6L engine is incorrect

See

Updating HDX-192 DSP Card Firmware.

Table 8. Troubleshooting Errors and Messages

Symptom or Message Possible Cause Solution

Troubleshooting 383

MADI card requires update The version of the firmware on a MADI-192

MADI Option card is incorrect.

See

Updating MADI Card Firmware.

Clock Lost (or similar) The system(s) might be connected in an

unsupported clock configuration.

Make sure the WCOut port on the MADI-192 MADI Option

card is not connected. For more information, see

Connect-

ing and Using the MADI-192 MADI Option Card

VENUE On-Stage

Enter Password. Access to

this VENUE system is

locked.

Password protection has been enabled for

VENUE On-Stage.

See the

VENUE On-Stage.pdf for instructions on enabling,

configuring, disabling, and resetting password protection.

Table 8. Troubleshooting Errors and Messages

Symptom or Message Possible Cause Solution

Troubleshooting 384

Restarting Your System

If your VENUE system ever needs to be reset, restart the system

To restart the system:

1 On the external screen, go to the Options > System page.

2 Hold Default (Alt) and select Shut Down.

If restarting the system does not correct a problem, you may have to reset hardware components, identify and remove any incom-

patible plug-ins, or reinstall VENUE software using the System Restore software.

Additional Reset Options

Additional shortcuts are provided while restarting the system, which let you do the following:

• Back up the current show settings and clear the console. Use this option if you suspect an auto-saved setting has become cor-

rupted. This lets you save your most recent settings and clear the console without having to do a full system restore.

– or –

• Startup in Explorer, to be able to manually manage software components. Use this option to troubleshoot the system if problems

arise early in the startup process and persist through repeated restarts.

Backup and Clear Console

To backup and clear the console at restart:

1 Start or restart the system.

2 Watch the screen closely during the startup process. As soon as the cursor becomes visible (and before the VENUE software

logo screen appears) press and hold the C key on the computer keyboard. Continue to hold the C key (do not press it repeatedly).

3 A dialog appears that lets you choose to backup your auto-saved settings and clear the console, or to continue and load settings

normally.

Startup in Explorer

To start up the system in Explorer (bypassing VENUE software):

1 Start or restart the system, as necessary.

2 Watch the screen closely during the startup process. As soon as the cursor becomes visible (and before the VENUE software

logo screen appears) press and hold the E key on the computer keyboard. Continue to hold the E key (do not press it repeatedly)

until you see the Explorer desktop.

3 From Explorer, you can manually find and delete suspect data files, plug-ins, or perform other file management tasks.

If you press the C key too early in the startup process, the USB keyboard is reset instead of calling the Backup and Clear dialog.

If you do not see the backup and clear dialog, repeat the restart process and try again.

If you are unsure about how to troubleshoot a computer and its files, it is recommended that you contact VENUE customer ser-

vice.

Troubleshooting 385

Resetting Hardware Components

Some hardware can be reset from external screen Options > Devices screen, or by power-cycling the component. It is recom-

mended that you perform a reset if, for example, the Hardware Monitor Alert dialog appears for a specific device, if a connected

device stops communicating with the rest of the system, or if the device is not passing audio signal via its I/O.

To reset system hardware:

1 Put the system in Config mode.

2 On the external screen, go to Options > Devices.

3 Tap-and-hold (right-click) one of the following displayed hardware components:

• S6L control surface

• Stage 64 I/O racks (must be in the Connected Devices column)

4 Choose Reset.

Resetting Channel Touch Modules (CTMs)

If a CTM unexpectedly goes offline, indicated by Meters or Channel view not appearing on a CTM or a “Please Configure Con-

sole” message appearing, you can reset it from the MTS Control Surface Configuration page.

To reset an offline CTM:

1 On the MTS, touch the Gear icon.

2 Touch the Control Surface Configuration button.

The on-screen graphic show the status of the modules in your control surface

3 On the control surface graphic, tap the CTM that corresponds to the CTM that has gone offline, indicated by a warning icon. In

the Diagnostics window below the control surface graphic, information about the CTM’s status appear.

4 Touch the Unassign button to release the connection.

Gear icon

Control Surface Configuration button

Control Surface Configuration window showing and offline CTM

Troubleshooting 386

5 Touch Assign. The selected CTM flashes to indicate it is the module targeted for assignment.

If the wrong module is flashing, touch Cancel, touch the correct module so it is bordered in orange, and then touch Assign.

6 Touch the real CTM, which displays the message “Touch to Configure.”

When the CTM has been reconnected, the Meters view appears on-screen.

Offline or Unavailable Devices

The S6L system remembers the last hardware configuration used. If it doesn't find all units at the next startup, it displays those de-

vices as grayed out in the Options > Devices page. Devices remain offline (and the system displays error messages alerting you to

their absence) until either the devices are powered up and come online, or you tell the system to “forget” the offline devices.

Forget an offline device if that device is not currently a part of your configuration. If your device has failed or lost its connection,

check audio network connections or power-cycle the device.

To forget offline devices:

1 On the external screen, go to the Options > Devices page.

2 Touch-and-hold (right-click) the missing device and choose Forget.

Control Surface Configuration window showing a CTM ready to be assigned

CTM showing Touch to Configure

Troubleshooting 387

Hardware Monitoring Window

The performance of hardware components, including internal temperatures, can be viewed and monitored using the Hardware

Monitoring window.

Should a problem occur with any of the components in your system, the Hardware Monitoring window will provide information

that will be useful in troubleshooting while in contact with VENUE customer service.

Accessing Hardware Monitoring

To access the Hardware Monitoring window, do any of the following:

• Press Ctrl+Shift+M at any time to open the Hardware Monitoring window.

• On the Options > Devices page of the external screen, select a system component so it is highlighted in blue, and then in the

Information section choose Status.

• If the Hardware Monitoring Alert dialog appears on-screen, select OK in the dialog. The Hardware Monitoring Alert dialog

for the problem device appears automatically and identifies the reading that is out of specification.

The Hardware Monitoring Alert window is only displayed once per device (should a problem ever be detected with that device).

E6L Engine Emergency Shutdown

If the E6L engine has been disconnected from the S6L control surface and cannot be shut down via the Shut Down button on the

Options > System page of the external VENUE software screen, you can shut the engine down using the front-panel

Reset button.

To perform an emergency shut down of the E6L engine:

 Press and hold the Reset button on the front panel of the E6L engine for at least 5 seconds.

When the System LED goes dark and the Status LED lights amber, you can then power off the engine’s PSUs.

Utility Mode

Each module on the S6L control surface (except CTMs) can be started up into a Utility mode that can be useful for troubleshooting

purposes. Only use Utility mode at the request of a qualified Avid technician to diagnose specific hardware problems.

To enter Utility mode on the MLM:

 Press and hold the Multi-Select and Multi-Assign switches.

To enter Utility mode on a CFM:

 Press and hold the Menu and Safe switches on the leftmost channel strip.

To enter Utility mode on a CKM:

 Press and hold the encoder Sel switches on leftmost top-row encoders.

Troubleshooting 388

Resetting the Plug-In Racks

If the plug-in racks go offline they need to be reset to resume normal operation.

The following conditions apply when plug-ins go offline:

• When offline, plug-ins on input channels and continue to pass and process audio using their settings at the time the racks went

offline.

• Offline plug-ins on output channels and buses are muted.

• You will not be able to adjust plug-ins settings until the racks fully re-initialize.

• Once the racks begin to reinitialize, plug-ins are unavailable and do not process audio.

• During reinitialization, plug-ins are loaded into rack slots according to the last loaded Show file; plug-in racks are turned off

(all assigned plug-ins are made inactive).

• When all plug-ins have loaded and the racks initialized, the system displays a dialog alerting you that the racks are ready to

be brought back online (reactivated). This is provided as a final precaution against sudden changes to audio when plug-ins re-

sume processing.

Shortly after you confirm that you want the racks brought back online, plug-ins resume processing audio and all parameters become

available for editing.

To re-initialize (reset) the racks:

1 In the Plug-In Racks Reset dialog, Click Reset to begin the plug-in rack re-initialization.

2 In the Plug-In Racks are Ready dialog, Click Use Racks to confirm that you want the racks to be reset. Status is shown

on-screen. After the process is complete, the console and all plug-ins are operational again.

Using the System Restore Software

Use the System Restore software for troubleshooting or maintenance purposes. The S6L control surface and the E6L engine each

have their own unique System Restore image, which you must install on each device separately. S6L control surface and E6L en-

gine must both be running the same versions of VENUE software in order for them to connect. An active Internet connection is re-

quired to activate software components after installation.

See the most recent edition of the

VENUE | S6L Installation Guide.pdf (available in your Avid account) for complete instructions on

creating bootable USB drives for System Restore software, performing a System Restore or Software Update, and re-installing

plug-ins.

Do not reset the racks until there is a long enough break in the performance that the rack can be fully rebuilt with no signal pass-

ing through. This is especially important when using crossover plug-ins or gain-attenuating plug-ins.

Check your Avid account for the latest version of the System Restore software. Always make sure to use the latest version of the

System Restore software when restoring your software, and that you always keep a copy of the System Restore software on-hand

for troubleshooting.

Troubleshooting 389

Updating HDX-192 DSP Card Firmware

If you have installed an HDX-192 DSP card in your E6L engine, and on startup you encounter the message that the firmware needs

to be updated, use this procedure to update the firmware on the HDX DSP card.

To update the firmware on your HDX-192 DSP card:

1 Shut down your system, and power off all components.

2 Connect a VGA monitor, and USB keyboard and mouse to your E6L engine.

3 Power on your E6L engine, and repeatedly press F5 on the keyboard while the engine starts up.

4 Close the window that appears on screen to show the Desktop.

5 Double-click the Update HDX Firmware icon on the Desktop.

6 Follow the on-screen instructions to update the firmware on your HDX card.

When the firmware update completes, the E6L engine shuts down, indicated by the front-panel System LED going dark, and the

Status LED lit amber.

7 After the E6L engine shuts down, disconnect the VGA monitor, keyboard, and mouse, and power-cycle your E6L engine.

Updating MADI Card Firmware

If you have installed one or more MADI-192 MADI Option Cards in your E6L engine and on startup you encounter the message

that the firmware needs to be updated, use this procedure to update the firmware on the MADI card(s).

To update MADI-192 MADI Option Card firmware:

1 Shut down your system, and power off all components.

2 Connect a VGA monitor and USB keyboard and mouse to your E6L engine.

3 Power on your E6L engine, and repeatedly press F5 on the keyboard while the engine starts up.

4 Close the window that appears on screen to show the Desktop.

5 Double-click the Update MADI Firmware icon on the Desktop.

6 Follow the on-screen instructions to update the firmware on your MADI-192 MADI Option Cards.

When the firmware update completes, the E6L engine shuts down (indicated by the front-panel System LED going dark, and the

Status LED lighting amber).

7 After the E6L engine shuts down, disconnect power from the E6L and wait at least 30 seconds.

8 Make sure to disconnect the VGA monitor, mouse, and keyboard, then power your system back on.

Troubleshooting 390

Configuring S6L Master Touch Screen (MTS) and External Monitor

If you replace your monitor and touch is not responding correctly on your MTS and/or your external monitor, use the Touch Screen

Assignment wizard to configure your touchscreens. This wizard only applies to the MTS and the external monitor.

To configure your screens:

1 Make sure your DVI monitor is connected to your S6L control surface and is powered-on.

2 On the MTS, touch the Gear icon.

3 Touch General, then touch Touch screen assignment.

4 Follow the on-screen prompts to configure your touchscreens. If prompted to press Enter, press the Enter key on your keyboard.

MTS on an S6L-24D

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

Select

Solo

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

BAS

Menu Safe

Mute

Nom

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

MIXMIXMIXPLUG-INSDYNAMICSEQINPUTCHANNEL

Sel

VENUE | S6L

Solo Solo

Home

Config

VCAs

Outputs

Layouts

Inputs

Flip

Recall

Trans

F1 F2 F3 F4 F5

Store

AFL

Dim

Sel

SNAPSHOTS

Talk

Back

Multi

Select

Encoder

Assign

Select

Clear

Tap

Tempo

Multi

Assgn

Default Fine

OK Cancel

Over

Write

Mix to

Mon

Solo

Clear

8All

Preview

ASSIGNABLE ENCODER MONITORING

Push A/BHold SIP

SHIFT

ALT

CTRL

ESC

Mute Mute

Nom

Inputs/Outputs

Global Controls

0.0 dB

Left

0.0 dB

Kick

Mute Group 1

Mute Group

Function KeysMute Group 2

Mute Group 3

Mute Group 4

Mute Group 5

Mute Group 6

01/011

reset all inputs

0.0 dB

CH 1

Kick

Ch 1-16

1-16

Aux 1-8

1-8

Aux 9-16

Aux 17-24

Aux 25-32

25-32

VCA 1-8

1-8

VCA 9-16

9-16

Ch 17-32

17-32 9-16

Ch 33-48

33-48 17-24

Ch 49-64

49-64

Ch 65-80

65-80

Ch 81-96

81-96

Troubleshooting 391

LED Brightness

Module LED Brightness Settings let you adjust the brightness of switch LEDs and knobs to match the brightness of modules of

varying ages or revisions. Using the Console Configuration page you can adjust brightness levels for knob and switch LEDs sep-

arately, and copy/paste all brightness settings from one module to another.

To adjust module brightness:

1 Access the Control Surface Configuration view by doing the following:

• S6L-32D/24D/24C: On the MTS touch the Gear icon, then touch the Control Surface Configuration tab.

• S6L-16C: On the external screen, go to Options > Control Surface Configuration.

2 On the control surface graphic, tap to select a module. The Diagnostics section appears below, showing module status and LED

brightness controls.

3 To choose a preset LED Mode for the selected module, choose LED A or LED B from the drop-down menu.

• LED A Maximum brightness, as found on newer or later revision S6L modules (100% for knobs and switches).

• LED B Less bright, to match newer replacement modules with older modules (Switch = 20/30/10%; Knob = 70/100/60%).

4 To customize settings, choose USER from the drop-down menu. The brightness controls for Switch and Knob become lit/active.

5 Adjust the red, green, and blue encoders for Switch and Knob.

6 To copy/paste the current brightness settings, tap Copy, tap to select a different module, then tap Paste. Settings can be cop-

ied/pasted from any type of module to any other (such as copying CKM settings to a CFM).

7 Repeat for other modules, as desired.

Control Surface Configuration view (MTS shown)

USER mode

Part VI: Specifications

Mechanical Specifications 393

Mechanical Specifications

S6L-16C Control Surface

S6L-16C Control Surface Dimensions

Parameter Specification

Maximum Height, Front

Maximum Height, Back

3.6 inches (92 mm)

8 inches (205 mm)

Maximum Width 26.5 inches (674 mm)

Maximum Depth 31 inches (787 mm)

Weight 70.5 lbs (38 kg)

674.00mm

26.54in

225.50mm

8.88in

10.10mm

.40in

570.00mm

22.44in

20.80mm

.82in

786.54mm

30.97in

51.79mm

92mm

2.04in

[3.6in]

160.00°

Mechanical Specifications 394

S6L-24C Control Surface

Parameter Specification

Maximum Height, Front

Maximum Height, Back

3.6 inches (92 mm)

8 inches (205 mm)

Maximum Width 38.9 inches (989 mm)

Maximum Depth 31 inches (787 mm)

Weight 84 lbs (38 kg)

S6L-24C Control Surface Dimensions

9.1

231

[ 1.0 ]

25.6

[ 3.0 ]

2x 76

[ .3 ]

2x 8.5

[ 34.8 ]

885

[ 38.8 ]

986

[ 1.4 ]

2x 36

[ .6 ]

4x ø16

[ .4 ]

4x 10

[ .8 ]

20.8

[ 9.1 ]

231

[ 1.3 ]

32.2

[ 20.0 ]

509

[ 12.5 ]

318.7

[ 8.9 ]

226.5

[ 2.7 ]

69.4

[ 3.6 ]

[ 2.0 ]

51.5

[ .8 ]

2.01

[ 2.5 ]

62.7

[ .6 ]

14.7

[ .8 ]

[ 2.2 ]

[ 1.7 ]

160º

[ 27.1 ]

688.5

[ 8.7 ]

221.5

[ 1.2 ]

29.3

[ .8 ]

[ 2.9 ]

[ 2.0 ]

49.8

[ 8.0 ]

204.5

[ 15.3 ]

388

[10.9]

277.7

Mechanical Specifications 395

S6L-24/24D Control Surface

Parameter Specification

Maximum Height, Front

Maximum Height, Back

3.6 inches (92 mm)

15.3 inches (388 mm)

Maximum Width 38.8 inches (986 mm)

Maximum Depth 30.9 inches (786.5 mm)

Weight 119 lbs (54 kg)

2.0

49.8

2.9

27.1

688.5

8.7

221.5

1.7

2.0

51.5

14.7

2.5

62.7

3.6

2.7

69.4

8.9

226.5

12.5

318.7

20.0

509

6.0

153.7

2.9

2.0

160°

110°

8.0

204.5

15.3

388

20.1

1.2

29.3

2.2

34.8

885

38.8

986

1.0

25.6

1.3

32.2

1.4

Mechanical Specifications 396

S6L-32D Control Surface

Parameter Specification

Maximum Height, Front

Maximum Height, Back

3.6 inches (92 mm)

15.3 inches (388 mm)

Maximum Width 51.2 inches (1302 mm)

Maximum Depth 30.9 inches (786.5 mm)

Weight 154.5 lbs (70 kg)

1.0

2.0

49.8

8.7

221.5

1.7

8.0

204.5

15.3

388

2.0

51.5

3.6

2.5

62.7

27.1

688.5

2.0

2.9

12.5

318.7

20.0

509

2.7

69.4

160°

110°

6.0

154

8.9

226.5

2.9

1.0

24.3

20.1

2.2

47.2

1200

51.2

1302

1.0

25.6

1.3

32.2

1.5

Mechanical Specifications 397

E6L Engine

Parameter Specification

Maximum Height 8.6 inches (218.7 mm)

Rack Spaces 5U

Maximum Width 19 inches (483.7 mm)

Depth with Bezel

Depth without Bezel

21.2 inches (537 mm)

19.6 inches (497 mm)

Weight 74 lbs (33.5 kg)

8.6

219

1.5

38.6

3.8

95.8

6.0

152.9

7.1

180.3

1.2

31.5

8.6

218.7

7.6

192.9

1.0

26.4

1.0

26.5

16.9

430

11.5

292.8

1.6

40.4

19.6

497

10.5

267.1

3.8

97.1

3.5

2.9

19.0

483.7

Mechanical Specifications 398

Stage 64

Parameter Specification

Maximum Height 17.5 in (444.5 mm)

Rack Spaces 10U

Width with Rack Ears

Width without Rack Ears

19 inches (483 mm)

17 inches (430.9 mm)

Maximum Depth 12.2 in (309.8 mm)

Weight Empty: 46 lbs (20.8 kg); Full: 69 lbs (31.2 kg)

19.0

482.6

17.5

444.5

17.0

430.9

12.2

309.8

[.6]

16.2

[.4]

10.4

Mechanical Specifications 399

Stage 32

Parameter Specification

Maximum Height 8.7 inches (221 mm)

Rack Spaces 5U

Width with Rack Ears

Width without Rack Ears

19 inches (483 mm)

17 inches (430.9 mm)

Depth 17.7 inches (448 mm)

Weight (Full) 49 lbs (22 kg)

Stage 32

221mm

8.7in

430mm

16.9in

448mm

17.7in

10mm

.4in

450mm

17.7in

15mm

.6in

Mechanical Specifications 400

Stage 16

Parameter Specification

Maximum Height 6.9 in (175.2 mm)

Rack Spaces 4U

Width (with Rack Ears)

Width (Rack Ears configured as handles)

19 inches (483 mm)

15.6 inches (396 mm)

Depth (with Rack Ears)

Depth (Rack Ears configured as handles)

7.9 in (201 mm)

9.8 in (249 mm)

Weight 21 lbs (9.5 kg)

19 in

(483 mm)

1.8 in

(46.3 mm)

15.6 in

(396 mm)

15.3 in

(388.7 mm)

6.9 in

(175.2 mm)

7.9 in

(201 mm)

9.8 in

(249 mm)

Mechanical Specifications 401

Local 16 I/O

Local 16

Parameter Specification

Maximum Height 5.2 inches (132 mm)

Rack Spaces 3U

Width with Rack Ears

Width without Rack Ears

19 inches (483 mm)

17 inches (430.9 mm)

Depth 11 inches (278 mm)

Weight (Full) 16.3 lbs (7.4 kg)

132.3mm

5.21in

278.3mm

10.96in

442.0mm

17.40in

20.3mm

.80in

1.6mm

.06in

5.8mm

.23in

Mechanical Specifications 402

S6L System Components LED Codes

E6L Engine

The Status and System LEDs on the E6L engine front panel light to indicate the following:

On E6L-112 (only), a flashing System LED indicates a disconnected AC power cable.

Stage 64 and Stage 32

Status LED

The STATUS LED on the Stage 64 lights to indicate status as follows:

Fault LED

The FAULT LED on the Stage 64 lights to indicate status as follows:

E6L engine front panel Status and System LEDs

LED Color State Description

Status

Green Solid All clear (no hardware alerts are detected).

Amber Solid

One or more hardware alerts are detected.

Consult the VENUE software Options > Devices page for detailed info.

Off (unlit) n/a E6L is powered off, or is initializing during startup.

System

Green Solid E6L is fully operational, and connected to the S6L control surface

Amber

Solid E6L processor has shut down; safe to power off E6L.

Flashing E6L processor is initializing.

Off (unlit) n/a E6L is powered off, or is initializing during startup.

Power and fan faults are also communicated on-screen via a warning dialog box on the external VENUE software screen.

Stage 64 Status LED

LED Color Description

Green solid Initialization is complete and the device is ready to pass audio.

Green flashing A firmware update for the device is in progress. No audio passes during a firmware update.

Stage 64 Fault LED

LED Color Description

Red solid Fan failure. Power cycle the device.

Red flashing Power supply temperature alert. This may indicate that the device is overheating. Power

down the device and check that the device is properly ventilated.

Mechanical Specifications 403

Network Port Act and Sig LEDs

Each S6L control surface, E6L engine, and Stage 64 Network port has its own Activity (Act) and Signal (Sig) LEDs. Each device

is ready for use when the Act and Sig LEDs are lit solid for each connected Network port.

Act LED

The Act (activity) LED lights solid to indicate that AVB Ethernet traffic is currently active on the connected audio snake

cable. If a redundant snake is connected, or if a Stage 64 is daisy-chained to another Stage 64, then ports A and B Act LEDs will

be lit.

Sig LED

The Sig (signal) LED lights solid to indicate that a valid communication connection exists between devices. If a redundant

snake is connected, or if the Stage 64 is daisy chained to another Stage 64, then ports A and B Sig LEDs will be lit.

Replacing S6L and E6L PSUs

The S6L-32D and S6L-24D control surfaces, and the E6L-192 and E6L-144 engines use the same model of hot-swappable PSUs,

and the procedure for replacing a faulty PSU is the same for both units.

To replace an S6L or E6L PSU:

1 On the back panel of the S6L or E6L, locate the faulty PSU, indicated by a red or not-lit PSU ON LED

2 Locate the PSUs captive thumbscrew, and rotate counter-clockwise to loosen, using a #1 Phillips screwdriver if necessary.

3 Using the handle, slide the PSU out of the unit.

4 Slide the replacement PSU into the proper slot of the unit, and rotate the captive thumbscrew clockwise to tighten.

Removing PSUs from the S6L control surface

Mechanical Specifications 404

S6L Secure USB Port

The S6L control surface features a secure internal USB port to connect and securely protect an iLok containing plug-in licenses.

Use this port to keep one “master” iLok and its plug-in assets with the S6L control surface at all times, safe from damage or loss.

To access the port, the back cover of the S6L control surface must be removed. Only install the iLok after you have transferred

plug-in licenses to your iLok. See Installing and Authorizing Plug-Ins for more information on handling plug-in licenses.

A 2.5 mm hex wrench is required to remove the back cover.

To access the secure USB port in the S6L control surface:

1 Power down and disconnect all cables from the S6L control surface.

2 Using a 2.5 mm hex wrench, remove the 8 screws that secure the back cover of the control surface, as indicated in Figure 4, and

set the screws aside. (On S6L-16C, only, there are 6 screws to remove.)

3 Slide the panel away from the control surface, and set the panel aside. It may be necessary to loosen the end caps before the panel

can be removed.

4 Inside the control surface, locate the secure USB port and insert the iLok.

5 Secure the iLok with the built-in cable tie. Be careful to not over tighten the cable tie (make sure the iLok does not bend or sag).

6 Replace the top panel, making sure the left and right edges of the top panel are under the top edges of the side cover (where the

Avid logo appears) lips.

7 Reattach the eight screws removed earlier to secure the cover. If you loosened the end caps, be sure to re-tighten their screws.

The following image and instructions refer to an S6L-24D. The number of fasteners, and exact location of the secure USB

port, may differ with other models of S6L control surface.

Figure 4. S6L control surface secure USB port (S6L-24D shown)

Mechanical Specifications 405

Making Fiber-Optic Connections

When using fiber to connect S6L system components, you must use two SFP qualified transceiver modules per connection in ad-

dition to supported fiber-optic cable (see Cabling Requirements for information on supported cabling). To make a fiber connec-

tions to an S6L system component, insert the SFP transceiver module into a fiber Network port of an S6L system component, and

then insert the fiber-optic cable into the SFP module.

To make a fiber-optic connection to an S6L system component:

1 Remove the dust plug from the desired fiber Network port on the S6L system component, and set it aside for later use.

2 Align the SFP module with the fiber Network port so that the release latch on the SFP module faces up (when installing in the

S6L control surface or the E6L engine), or to the left (when installing in a Stage 64).

3 Insert the SFP module into the port until you feel the module snap into place inside the port.

4 Remove the dust plug from the SFP module’s port, and set it aside for later use.

5 Remove the dust cap from the fiber-optic cable connector, align the connector with the port so that the tab on the top of the cable

connector faces up (when installing in the S6L control surface or the E6L engine), or to the left (when installing in a Stage 64),

and then insert the cable into the SFP module until you feel the cable connector snap into place.

To remove the fiber-optic cable from the SFP module:

1 Press the tab on the top on the cable connector to release the cable, and then pull the cable out of the SFP module.

2 Replace the dust cap on the end of the fiber-optic cable connector.

To remove the SFP module from the fiber port:

1 Pull the release latch on the SFP module out and down to release the module from the port, using a small flat head screwdriver

if necessary.

2 Pull the module out of the port.

3 Replace the dust plug on the SFP module port and place the module in an anti-static bag.

It is recommended that you do not install or remove an SFP module with a cable attached to it, or install or remove an SFP

module more often than is necessary. Always cover fiber-optic ports and connector ends when they are not connected using

dust caps and plugs.

Fiber Network ports A (left) and B (right) on the S6L control surface (dust plugs removed)

Audio Specifications 406

Audio Specifications

All specifications subject to change.

System Processing

Parameter Value

Internal Sample Frequency 96 kHz

Internal Processing Up to 64-bit floating point

Processing Delay

2.83 ms (Stage 64 analog input, through Mains L-R bus to Stage 64 analog output)

Analog Mic/Line Inputs

Parameter

S6L Control Surface Analog Inputs

(XLR)

SRI-192 Analog Input Card

Connector

8 XLR-F 8 XLR-F

Sample rate

96 kHz 96 kHz

Phantom Power

+48V +48V

Input Sensitivity

+14 dBu (+/-0.25 dB) @1 kHz, Pad Off

+34 dBu (+/-0.25 dB) @1 kHz, Pad On

+14 dBu (+/-0.25 dB) @1 kHz, Pad Off,

+34 dBu (+/-0.25 dB) @1 kHz, Pad On

Pad Depth

20 dB (+/- 0.25 dB), 1 kHz, 50 Ohm 20 dB (+/- 0.25 dB), 1 kHz, 50 Ohm

Gain Accuracy

±0.25 dB @ all gains ±0.25 dB @ all gains

Gain

+ 1 0 d B t o + 6 0 d B P a d O f f

–10 dB to +40 dB Pad On

+10 d B to +60 dB Pad Off,

–10 dB to +40 dB Pad On

Input Impedance

~4 k Ohms ~4 k Ohms

Frequency

Response

20 Hz - 20 kHz -0.2 dB @ all gains 20 Hz - 20 kHz ±0.1 dB @ all gains

THD+N

<0.0004% @+2 dBu, @1 kHz, @20 dB gain,

20 Hz-20 kHz filter,

<0.0005% 20-20 kHz, @+10 dBu, @10 dB gain,

20 Hz-20 kHz filter

<0.0004% @+2 dBu, @1 kHz, @20 dB gain,

20 Hz-20 kHz filter,

<0.0005% 20-20 kHz, @+10 dBu, @10 dB gain,

20 Hz-20 kHz filter

EIN

–127 dB, 150 Ohm source, 20 Hz - 20 kHz –127 dB, 150 Ohm source, 20 Hz - 20 kHz

Converter Group

Delay

12.6/Fs = 0.131 ms 12.6/Fs = 0.131 ms

Dynamic Range

>118 dB, A - weighted @ 1 kHz >118 dB, A - weighted @ 1 kHz

CMRR

>60 dB @60 Hz

>80 dB Typical, @100 Hz, 20 dB gain

>70 dB Typical, 20 Hz-20 kHz, 20 dB gain

>60 dB @60 Hz

>90 dB Typical, @100 Hz, 20 dB gain

>80 dB Typical, 20 Hz-20 kHz, 20 dB gain

LEDs

Signal Present (green), +48V (red) Signal Present (green), +48V (red)

Audio Specifications 407

Analog Line Outputs

Parameter

S6L Control Surface Analog Outputs

(XLR)

SRO-192 Analog Output Card

Connector

(8) XLR-M (8) XLR-M

Sample rate

96 kHz 96 kHz

Output Sensitivity

+24 dBu (+/-0.25 dB) @1 kHz, 100 k ohm +24 dBu (+/-0.05 dB) @1 kHz, 100 K ohm

Gain Accuracy

±0.25 dB, 20-20 kHz, all gain settings ±0.25 dB, 20-20 kHz, all gain settings

Frequency Response

20-20 kHz, –0.15 dB –0.1 dB, 20-20 kHz

THD+N

<0.0005% @1 kHz, –5 dBFS

<0.0005%, 20-20 kHz, @–5 dBFS

<0.0006% @1 kHz, –5 dBFS

<0.0008%, 20-20 kHz, @–3 dBFS

Converter Group

Delay

7/Fs = 0.073 ms 7/Fs = 0.073 ms

Dynamic Range

>117.5 dB, A-weighted @1 kHz >116 dB, A-weighted @1 kHz

Mute Depth

>125 dB @1 kHz, @–10 dBFS

>115 dB 20-20 kHz, @–10 dBFS

>125 dB @1 kHz, @–10 dBFS

>115 dB 20-20 kHz, @–10 dBFS

Output Impedance

100 Ohms Differential 100 Ohms Differential

Crosstalk

>120 dB @1 kHz, @–10 dBFS

>100 dB 20-20 kHz, @–10 dBFS

>120 dB, @1 kHz, @–10 dBFS

>100 dB, 20-20 kHz, @–10 dBFS

LEDs

Signal Present, Mute Signal Present (green), Mute (red)

S6L Control Surface Digital I/O

Parameter S6L Control Surface Digital Inputs S6L Control Surface Digital Outputs

Connector

(4) XLR-F (4) XLR-M

Format AES 3 (AES/EBU) AES 3 (AES/EBU)

Word Length 24-bit 24-bit

Termination 110 Ohms 110 Ohms

Max Cable Length 328 feet (100 meters) 328 feet (100 meters)

Supported Sample

Rates

24 kHz to 210 kHz per input pair

(SRC is always active)

96 kHz

Level n/a ~3.6V pp maximum (i.e., +/- 1.8V)

Channel Status Info n/a Pro Audio 96 kHz, No Emphasis

Dithering n/a No

LEDs

n/a Signal Present (green), Mute (red) per AES pairs

Audio Specifications 408

DSI-192 Digital Input Card

Parameter AES Digital Inputs ADAT Digital Inputs Word Clock Out

Connector

(4) XLR-F TOSLINK Optical BNC-F

Format AES 3 (AES/EBU)

ADAT, 8-channel @ 48 kHz,

4 channels @ 96 kHz,

2 channels @ 192 kHz

(selectable within software)

Word Clock Out

Word Length 24-bit 24-bit n/a

Termination 110 Ohms 110 Ohms n/a

Max Cable Length 328 feet (100 meters) n/a n/a

Supported Sample

Rates (with SRC)

24 kHz to 210 kHz per input pair

(defeatable within software)

24 kHz - 210 kHz n/a

Source Impedance n/a n/a 75 Ohm

Drive Level n/a n/a

2.5 pk-pk into

75 Ohm load

LEDs

Lock, SRC On Lock, SRC On

n/a

DSO-192 Digital Output Card

Parameter AES Digital Outputs ADAT Digital Outputs

Connector

(4) XLR-M TOSLINK Optical

Format AES 3 (AES/EBU)

ADAT, 8-channel @ 48 kHz,

4 channels @ 96 kHz,

2 channels @ 192 kHz

Word Length 24-bit 24-bit

Termination 110 Ohms 110 Ohms

Max Cable Length 328 feet (100 meters) n/a

Supported Sample

Rates

96 kHz

48 kHz SMUX, 96 kHz SMUX and 192 kHz SMUX

(selectable within software)

LEDs Lock, SRC On Lock, SRC On

Impedance 110 Ohm n/a

Level

~3.6 Vpp maximum

(i.e., +/- 1.8V)n/a

n/a

Channel Status Info Pro Audio 96 kHz, No Emphasis n/a

Dithering NO No

LEDs

Signal Present (green), Mute (red) per

AES pairs

Signal Present

Audio Specifications 409

Headphone Outputs

Parameter

S6L Console Headphone Outputs Stage 64 Headphone Output

Connector

(2) TRS-F (1) TRS-F

Sample rate 48 kHz, 96 kHz, 192 kHz 48 kHz, 96 kHz, 192 kHz

Output

Impedance

<3 Ohms <3 Ohms

Max Output

Power (rms)

>600 mW, 32 Ohm, 1 kHz, 1% THD,

>190 mW, 300 Ohms, 1 kHz, 1% THD,

>100 mW, 600 Ohms, 1 kHz, 1% THD

>750 mW, 32 Ohm, 1 kHz, 1% THD,

>330 mW, 300 Ohms, 1 kHz, 1% THD,

>190 mW, 600 Ohms, 1 kHz, 1% THD

Frequency

Response

20-20 kHz, +/- 0.2 dB, –15 dBFS 20-20 kHz, +/- 0.1 dB, –15 dBFS

THD+N

<0.0007%, 1 kHz, –2 dBFS, >300 ohms,

<0.0025%, 20-20 kHz, -5 dBFS, 300 ohms, 20 kHz filter,

<0.0015%, 1 kHz, -5 dBFS, 32 ohms,

<0.0025%, 20-20 kHz, -4 dBFS, 32 ohms, 20 kHz filter

<0.0005%, 1 kHz, 0 dBFS, >300 ohms,

<0.0008%, 20-20 kHz, 0 dBFS, >300 ohms, 20 kHz filter,

<0.0008%, 1 kHz, -4 dBFS, 32 ohms,

<0.0015%, 20-20 kHz, -4 dBFS, 32 ohms, 20 kHz filter

Group

Delay

7/Fs = 0.073 ms 7/Fs = 0.073 ms

Dynamic

Range

>110 dB, 20-20 kHz, A-weighted >110 dB, 20-20 kHz, A-weighted

Channel

Separation

<–90 dB, 1 kHz, 600 Ohms <–90 dB, 1 kHz, 600 Ohms

Signal Flow Diagrams

410

Signal Flow Diagrams

Input Channel Signal Flow

Input channel (Mic/Line)

Gain

trim

Phase

HPF

4-ba nd PE Q

Left

Right

Center

Groups

Mon Bus A - L

HW/SW

Insert

Mic/Line

Input

Fader

Mute

Key In

SC f ilte rs

Pre-EQ

AFL

Pre-EQ-Po st-M ute

SC listen

Pre-Mute

Pre-Fader

PRE

Botto m pickoff

select

Dyn

CompLim

ExpGate

To LCR

Can Follow Main

Pan

To Grp/Aux

(M)

(S)

Auxes

Input

dir ect

Pre/Post pickoff

Dir Out gain

Dir Out

pickoff select

Dir Out

InsRet pickoff

TOC pickoff

Mtx source out pickoff/

Pa tchb ay /Sid echa in

source

Pan

Mon Bus A - R

ProTo ols

Input

Per each bus

PRE

Solo

PFL

TOC

meter

InsRet

meter

PostFader

(pre-Mute)

meter

Mon Bus B - L

Mon Bus B - R

LP F

User

Delay

Signal Flow Diagrams 411

Output Channel Signal Flow

Mon Bus A (AFL) - R

Left

Right

Center

Grp/ mus sub xuA

slennahc tupni morf

Bus out

Dyn

Comp/

Lim

Group/Aux Output Channel

TOC pickoff

Fader

Mute

Solo/AFL

InsRet pickoff

Pre/Po st p icko ff

Mtx src

ou t

pickoffs

If Stereo

To LCR

Phase

User

Delay

Bottom pickoff

select

Dir O ut gain

Dir O ut

pickoff select

Dir O ut

Dyn

Comp/

Lim

L-R/C-Mono (Mains)

Channels

7-ba nd PE Q

TOC pickoff

Fader

Mute

InsRet pickoff

Pre/Post pickoff

Phase

Bottom pickoff

select

Dir O ut gain

Dir O ut

pickoff select

Dir O ut

Dyn

Comp/

Lim

7-ba nd PE Q

TOC pickoff

Fader

Mute

Solo/AFL

InsRet pickoff

Pre/Post pickoff

If Stereo

Phase

Bottom pickoff

select

Dir O ut gain

Dir O ut

pickoff select

Dir O ut

Bus out

Matrix Mixer Output Channel

Bus out

Mon Bus A (AFL) - L

User

Delay

User

Delay

Pan

GEQ->HW/SW

Insert

Po s t-F ad er

Pre-Fader

Post-Fader

Pre-Fader

LR st-linked

24x1/

16x1

mixer

Matrix

Input

Pool

Key In

SC f ilters

Key In

SC f ilters

SC listen

Key In

SC f ilters

SC listen

SC li ste n

LCR

de l ay

comp

PostFader

meter

TOC

meter

TOC

meter

PostFader

meter

TOC

meter

PostFader

meter

Matrix In pu t Po ol – A set of 256 unique (max), dynamically assignable sources from

all inp ut cha nn els, an d al l Gr ou p/Au x an d LC R bu sses, ava i lable to all matrix mixe rs .

Mon Bus B (AFL) - L

Mon Bus B (AFL) - R

Mix To Monitors

7-ba nd PE Q

Mtx src

meters

GEQ->H W/SW

Insert

GEQ->HW/SW

Insert

Mtx src

ou t

pickoffs

Part VII: Appendices

413

Important

(Model: S6L24, S6L32, E6L, and Stage 64)

Environmental Compliance

Disposal of Waste Equipment by Users in the European

Union

This symbol on the product or its packaging indicates that this product must not be

disposed of with other waste. Instead, it is your responsibility to dispose of your

waste equipment by handing it over to a designated collection point for the recy-

cling of waste electrical and electronic equipment. The separate collection and re-

cycling of your waste equipment at the time of disposal will help conserve natural

resources and ensure that it is recycled in a manner that protects human health

and the environment. For more information about where you can drop off your

waste equipment for recycling, please contact your local city recycling office or the

dealer from whom you purchased the product.

Proposition 65 Warning

Perchlorate Notice

This product may contain a lithium coin battery. The State of California requires the

following disclosure statement: “Perchlorate Material – special handling may ap-

ply, See www.dtsc.ca.gov/hazardous waste/perchlorate.”

Recycling Notice

EMC (Electromagnetic Compliance)

Avid declares that this product complies with the following standards regulating

emissions and immunity:

• FCC Part 15 Class B

• EN 55022 Class B

• AS/NZS CISPR 22 Class B

• CISPR 22 Class B

• EN 55103-1, Class E2 and E3

• EN 55103-2, Class E2 and E3

• EN55024

FCC Compliance for United States

Australian Compliance

Canada ICES-003 Compliance

This Class B digital apparatus meets all requirements of the Canadian Interfer-

ence-Causing Equipment Regulations.

Cet appareil numérique de la classe B respecte toutes les exigences du Règle-

ment sur le material brouilleur du Canada.

Korea Class B EMC Compliance

이 기기는 가정용 (B 급) 전자파적합기기로서 주 로 가정에서 사용하는 것을 목적

으로 하며 , 모 든 지역에서 사용할 수 있습니다 .

CE Compliance

(EMC, Safety and RoHS)

Avid is authorized to apply the CE (Conformite Europenne) mark on this compliant

equipment thereby declaring conformity to EMC Directive 2004/108/EC, Low Volt-

age Directive 2006/95/EC and RoHS Directive 2011/65/EC.

This product contains chemicals, including lead, known to the State of Califor-

nia to cause cancer and birth defects or other reproductive harm. Wash hands

after handling.

Communication Statement

NOTE: This equipment has been tested and found to comply with the limits for

a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are

designed to provide reasonable protection against harmful interference in a res-

idential installation. This equipment generates, uses, and can radiate radio fre-

quency energy and, if not installed and used in accordance with the instructions,

may cause harmful interference to radio communications. However, there is no

guarantee that interference will not occur in a particular installation. If this equip-

ment does cause harmful interference to radio or television reception, which can

be determined by turning the equipment off and on, the user is encouraged to try

and correct the interference by one or more of the following measures:

• Reorient or locate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to

which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

Any modifications to the unit, unless expressly approved by Avid, could void the

user's authority to operate the equipment.

Avid Technology, Inc.

Index 414

Numerics

0 dBVU 293

48V 113

A Device Has Been Lost 382

A Unit has gone Offline 385

Absolute (editing snapshots) 233

Actions 306

creating 315

list 324

ADAT I/O (on the DSI-192 and DSO-192 Digital I/O cards) 358

AFL 162

AND (Event List) 312

Assigning channels to outputs

external screen 200

from the control surface 107

Attentioning channels 102

from the control surface 102, 183

from the external screen 183

attentioning multiple channels 105

automation

Automation Safe 258

see Snapshots

Aux Mon/Aux FX 246

Aux User Presets

using 249

Auxes

adjusting Aux Sends 145

classifying Aux Sends as monitor or FX sends for snapshots

246

configuring 78

configuring monitoring options 163

enabling Sends on Faders mode 163

Expanded Aux view 146

spill 89

User Aux Scope (snapshots) 247

VCAs Trim Aux Sends in SOF 144

Avid

address 420

support resources 13

backup

Show file automatic backup 211

Show files and settings to a USB drive 208

Balance 194

balance (when pasting) 191

banking

banking only certain types of channels (Fader Bank Mode) 88

input channels in split banking mode 86

Mains 131

outputs in split banking mode 87

User Layout 93

banner display 179

Blank Strip 195

bus processing

adjusting bus-fed plug-ins 126

assigning a bus-fed plug-in 286

inserting Graphic EQs 187

routing a plug-in as a bus processor 288

Busses page 333

bypassing plug-ins 283

Cabling

requirements 12

Cannot assign Stage 64 380

center divergence 334

Center Last Recalled Snapshot 217

channel

reset shortcut 185

Channel Control

Channel Control Mode 23

Function Switches 24

User assignment 127

channel delay 113

channel EQ

adjusting using the control surface 118

adjusting using the external screen 186

Channel Safe Switch/Button

solo safing using 168

Channel Safe Switches/Buttons

automation safing using 258

bank safing using 97

safing from Recall Safe tab 255

setting the Chanel Safe Switch/Button Safe Mode 344

channels

copy and paste 191

in the Patchbay 264

moving 195, 197

Chase MTC/LTC 216

Child (snapshot) 221

cleaning and maintenance 11

Clear Console

during reset 332

clip

Hold 344

Margin 344

compatibility 12, 351

Config Mode

and assigning Stage 64s 68, 70

and loading Shows 205

and plug-ins 272

Console Connection Error 382

Control (Events) 303

Control surface controls have stopped working 380

Control Surface Module Lost 382

copy and paste

channel settings 191

dynamics settings 193

Index

Index 415

EQ settings 192

copying

plug-ins 285

creating an effect send/return 286, 288

crossfade

bypassing 246

crossfade time (snapshots) 245

CTM

overview 26

selecting a channel from 101

troubleshooting offline CTMs 385

cursor 341

Dante (DNT-192 Dante Network Card) 51

Date & Time Check 382

dBVU, dBu, dBFS 293

DC (GPI Output) 376

Default 29

delay

channel delay 113

Delay Compensation 335

Monitor bus 165

unit display setting 341

Delay Compensation 335

Devices page 346

digital inputs

defeating SRC 358

DSI-192 Digital Input card 51

on the control surface 42

digital outputs

on the control surface 42

on the DSO-192 Digital Output card 51

Digital/Analog EQ 186

dimensions 393

Direct Outs

adjusting 116

patching 267

routing to plug-ins 289

divergence 334

Dly (channel Delay in snapshots) 261

DSI-192 Digital Input Card

overview 51

DSI-192 Digital Input card

using 358

DSO-192 Digital Output Card

audio specifications 408

overview 51

DSP for plug-ins 292, 346

dynamics

adjusting from the control surface 122

adjusting using the external screen 188

copying and pasting settings 193

sidechain on the CKM 123

sidechain on the external screen 189

E6L engine

features 5, 46

front panel LED codes 402

mechanical specifications 397

powering on and pairing 62

Edit (System Config) 329

Edit mode 233

Effect Return 126

Encoder Assign 129

Engine Internal Switch Warning 382

channel EQ 118, 186

digital/analog 186

frequency from CKM 119

GEQ 187

settings and presets 192

Events

actions 306

and Preview mode 239

and Snapshot modes 318

and snapshots 318

behavior 316

creating actions 315

creating triggers 311

creating, selecting, managing 307

enabling and disabling 309

Event List 303

import 210

list of action types and properties 324

list of trigger types and properties 322

preset files 310

reset 317

terminology 302

testing 317

triggers 305

Wait 316

window 303

Expanded Aux view 146

Fault LED 402

feedback

avoiding event-created feedback loops 318

Fiber-Optic

cabling requirements 12

making connections 405

Filing

History 211

loading Shows 205

Presets and Scope Sets 206

Show files 204

Show Folders 203

Fine 29

momentary or latching 29

Fine mode for encoder parameter adjustment 29

Flex Channels

adjusting Mains on the Flex Channels 130

configuring 344

overview 33

Footswitch

connector 44

footswitch

Events triggers list 311

status display on the external screen 306

formats (plug-ins) 285

FX send/return 288

gate

adjusting using the control surface 122

adjusting using the external screen 188

key source 189

sidechain filters 124

Index 416

General Purpose Interface (see GPI)

GPI

input specifications 375

output specifications 376

pulse and duration 316

status display on the external screen 306

wiring diagrams 377

Graphic EQ

adjusting using the control surface 120

adjusting using the external screen 187

ground (GPI outputs) 376

Group (snapshots) 225

Groups

assign channels to using the external screen 200

assigning input channels to using the control surface 109

configuring 78

on-screen indication of stereo groups 194

spill 89

hardware inserts 372

Hardware Monitor Alert 382

HDX DSP card requires update 382

headphones

audio specifications 409

configuring 170

jacks 45

level 170

History 211

History (Show files) 211

HPF 115

iLok

authorizing plug-ins using 276

secure port for 404

Import

snapshots and events 210

input and output channels

adjusting using the control surface 106

make stereo 194

Input Direct mode 190

Input Safe Switches

changing modes via an Event 320

inputs

20 dB pad 113

assigning to Mains and Groups 107

banking 86

HPF 115

Input Direct mode 190

LPF 115

pan 114

phantom power 113

polarity (phase) 116

width 114

Insert Blank Strip 195

inserting external hardware on channels 372

inserts

assigning plug-ins 286

hardware inserts 372

installing

plug-ins 273

System Restore software 388

Interaction page 342

key assign 189

key listen 124, 190

key source 189

Latch (Event action behavior) 316

latching Solo on 166

latching to a Flex Channel 33

levels

plug-ins 293

listen wedge 165

locking snapshots 230

logic (GPI) 375

LPF 115

LTC

supported frame rates 363

MADI

MADI Outs, Stage 64 59

Mains 334

banking 131

configuring 77

configuring Main busses 77

input routing 107

Make Mono 194

Make Stereo 194

and Blank Strips 195

Master Live Module (MLM)

overview 28

Matrix

adjusting input (send) levels 149

linking and unlinking inputs 150

make a stereo Matrix 194

spill 89

mechanical specifications 393

Media (see Events) 303

Media Clock Master 355

metering

ballistics for meters 343

meter options 343

Meters view

selecting a channel from 101

MIDI

adding to snapshots 240

in Preview mode 239

MIDI Snapshot Output Safe 253

output Safe 242

triggering external devices on snaphsot recall 366

Misc page 338

Mix (Recall Safe parameters) 256

Mix Busses

configuring Auxes and Groups 78

Momentary (snapshots) 224

momentary Solo 166

Monitor

assignable output 165

Delay 165

level 170

mouse settings 341

move input channels

Move Selected Strip Here right-click command 195

using drag and drop 197

moving plug-ins 285

Index 417

MTC

generating MTC from VENUE (sending MTC to an external

device) 362

in Preview mode 239

supported frame rates

MTC/LTC

supported frame rates 363

MTC/LTC

chase 216

Events and Preview mode 239

MTS

attentioning channels from 102

basics of using 37

Multi-Assign 107

overview 37

selecting a channel from 101

troubleshooting 390

Multi-Assign

from the MTS 107

Multi-Select 104

on the external screen 183

using Attention 105

using Select 104

Mute

channel strip Mute switch 18

Mute Groups 156

Mute Groups tab 156

muting from the MTS 155

with VCAs 161

near field monitors

patching 165

Network ports

E6L engine 49

S6L control surface 43

Sig and Act LEDs 403

Stage 64 53

Notes

Show files 211

Snapshots 220

offset 112

One or more Engine fans have stopped working 382

One or More Units have Failed 382

operating modes (Config Mode and Show Mode) 67

Options 329

Busses 333

Devices 346

Interaction 342

Misc 338

Pickoffs 335

Snapshots 336

options 343

OR (Event List) 312

Other 285

outputs

banking in split banking mode 87

divergence 334

graphic EQ 187

patching/routing 266

reassigning in Patchbay 270

routing 267

pad 113

padlock (snapshots) 230

Pan 114

Avid 9935-72564-00 Venue Stage 32 I/O Rack with 3-Year Advantage Elite Live Support Plan 24 x 8

Product's Documents

User Manual

Specifications

Avid 9935-72564-00 Questions and Answers