For some years now, and for obvious reasons, the size of the average gig has shrunk noticeably. At the same time, new needs have emerged, and the “I do it all, or almost all, myself” figure is becoming commonplace. For these reasons, among others, a new range of “smaller,” more accessible products has recently appeared. By that we mean cheaper, lighter and easier to operate. The dividing line between “live” and “studio” is also starting to blur. People are looking for versatile gear and systems that provide recording and mixing solutions.
It’s a kind of all-in-one that saves setup time, money on equipment, and time spent learning how to use it. In this same issue we cover Steinberg’s proposal in the small interface category, the UR44. Although they are different types of products and “dimensions,” you can see the same concerns about portability and flexibility in every setting we might encounter: live, mixing, recording, studio and even recording gigs on the fly.
* The Engine E3 is the hardware core of the system, while the Venue 4.5 software is its operating system and user interface. Add to that an S3 control surface and from one to four Stage16 modules (the remote units with inputs and outputs). Stage16 modules can be purchased separately, so users who didn’t start with an S3L-X 64 system can add inputs and outputs as they grow. The S3 control surface is also a powerful Eucon controller for the studio (compatible with Pro Tools, Logic, Cubase, Nuendo and the main Eucon-compatible DAWs on the market), and can also be purchased separately.
What does the Venue S3L-X offer? Performance and sound quality backed by the solidity of Avid systems. Simplicity, reliability and contemporary design. Great flexibility to handle live events and, together with your laptop (it’s that simple), to take the studio with you wherever you go.
The system consists of a high-performance HDX processing unit with AAX plug-ins, expandable remote I/O and a compact control surface with EUCON, all linked via Ethernet AVB. It offers great versatility, with the award-winning VENUE and Pro Tools software as the control center. Among the system’s competitive advantages are its powerful performance thanks to HDX processing, the formidable arsenal of integrated (64-bit) AAX* plug-ins from Pro Tools and up to 64 mic preamps. Also useful is the ability to share inputs and outputs across two or more systems, with automatic gain tracking. As mentioned, its compatibility with Pro Tools means we can take a mobile studio wherever we go. We mix the event and record it too, so we can edit it afterward with ease. Fewer cables (hateful cables), thanks to its Ethernet AVB connectivity. And then there’s the sweet result of using the S3L-X as a control surface and interface for our Pro Tools or another compatible DAW.
What is Avid known for in live systems? As in everything, there are two or three big brands that attract die-hard, unshakable followers. What’s clear is that Avid is one of them, right up there with the big names. The features of its gear that have brought it this far can be summed up under these headings:
- Clear sound. Thanks to studio-quality mic preamps and powerful audio conversion and signal processing.
- Reliability. A crucial point. In the studio, because of the hours lost if the system crashes and the peace of mind of being able to focus on the work, not on equipment problems. Live, obviously, we can’t afford to be stressed by failures in front of the artist and the audience. Stability and dependability give us the calm we need to run the event with our full concentration.
- Ease of use. Considering that we don’t have a big budget, have to work fast and with minimal staff, systems that are easy to understand and quick to get a handle on are a major factor. Intuitive software is welcome: it gives hours back to creativity and takes them away from troubleshooting and hunting for things we don’t know how to do with the “gadgets.”
- Flexibility. Increase system power, grow the number of inputs and outputs, add faders, integrate personal monitoring, record with Pro Tools, and so on.
- Studio and live with the same sonic feel for the performer. As mentioned above, this includes the brand’s arsenal of professional plug-ins.
- Soundcheck. Lets us tune mixes based on previous live recordings. That way you can EQ the room and set up the system with “snapshots,” even before the artists arrive. You get ahead on the work, calmly and at your own pace.
- Shared software platform. Avid live systems always use the same software. So you only have to learn it once to mix on any VENUE system.
- Portable, easily stored files. Copy the show files to a USB drive and use them on any Avid live sound system.
- Plug-ins running on the DSP chassis. No need for costly external gear to tame overload. That means considerably fewer potential points of failure, less latency to worry about and full access from our control surface.
AAX DSP plug-ins included
• Avid Channel Strip EQ, dynamics, filters and gain effects • BF-76 solid-state compression emulation • Classic Compressors bundle includes the BF-2A, BF-3A, Purple Audio MC77, Fairchild 660 and Fairchild 670 plug-ins • D-Fi analog and retro processing bundle including LoFi, RectiFi and SciFi • D-Verb reverb and ambience processing • Dynamics III suite compressor/limiter, expander/gate and de-esser • Eleven hyper-realistic guitar amp emulator • EQ III high-resolution EQ with 48-bit double precision • Impact console-style mix bus compressor • Maxim top-tier plug-in for maximizing sound levels and limiting peaks • Mod Delay III variable delay processing • Moogerfooger bundle authentic analog emulations that combine audio effects with classic synth modules • Pro Compressor high-quality compressor with SMART technology • Pro Expander high-quality expander with SMART technology • Pro Limiter transparent, high-quality limiter • Pultec bundle analog EQ simulator of three classic designs • Reel Tape Suite analog tape emulation • Reverb One top-quality reverb processing • ReVibe high-quality reverb for room emulation • SansAmp PSA-1 tube amp simulator • Smack! no-fuss compressor and limiter • Tel-Ray Variable Delay space-age delay and echo • TimeAdjuster delay compensation, gain compensation and phase inversion • Voce bundle Voce Spin and Chorus/Vibrato
Specifications
S3 Control Surface • Compact 16-fader console, with six layers that can be grouped into banks • 32 touch-sensitive encoders and high-resolution OLED displays • Multicolor channel parameter control section for quick mix adjustments • Complete I/O set for stage and studio • Two Gigabit Ethernet AVB ports with locking etherCON connectors • Separate controller for Pro Tools and other EUCON-compatible digital audio systems • USB connections for keyboard and mouse (not included) E3 Processing Chassis • Runs the VENUE software, the control center of the entire system • High-performance processing chassis with HDX technology (compatible with 64-bit AAX DSP plug-ins) • 24 aux buses, LCR, plus 8 mono matrices and 8 VCAs • 2-track recording and playback with a standard USB flash drive • Local and auxiliary I/O • Three Gigabit Ethernet AVB ports with locking etherCON connectors • Separate Ethernet port for remote control with a laptop or tablet Stage 16 Remote I/O Box • 16 analog inputs (XLR) with remote mic preamp control • 8 analog line outputs (XLR) • 4 AES3 digital output channels • Ruggedized design with dual-purpose handles for use as a stage box or rack mounting • Power and status LEDs with Identify function • Slide switch Mute silences all outputs • Two Gigabit Ethernet AVB ports with locking etherCON connectors Suggested retail prices • S3L-X 16: 14,800 euros. Includes Engine E3, S3 surface, Venue 4.5 software and one Stage16 module. • S3L-X 32: 18,100 euros. Includes Engine E3, S3 surface, Venue 4.5 software and two Stage16 modules. • S3L-X 48: 21,400 euros. Includes Engine E3, S3 surface, Venue 4.5 software and three Stage16 modules. • S3L-X 64: 24,700 euros. Includes Engine E3, S3 surface, Venue 4.5 software and four Stage16 modules.
