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With VENUE 7, any Aux or Group can be routed to any other Aux or Group. Watch the video about HEAT, GEQ/HPF/LPF on outputs, Big Meters, and moreįor those of you coming from some other platforms, bus-to-bus routing may be a workflow that you’re already familiar with, but what’s going on in VENUE 7 is quite a bit deeper than the basics. Don’t be afraid to open up some old Virtual Soundcheck recordings, turn it on, and listen to how HEAT can open up your mixes with warm, analog-modeled saturation. You can even snapshot this setting, so you can apply different amounts of drive during different songs. The tone control goes from dark (the low setting of 1), to bright (the high setting of 6), and allows you to brighten or darken sources using saturation rather than EQ. When psuhed into the positive direction, you’re driving the tube saturation harder. When the drive control is pushed in the negative direction, you’re driving the tape saturation harder. In VENUE 7, HEAT can be applied to any or all input channels, adding tape or tube-type saturation while also allowing the engineer to adjust the tonality of the saturation. Designed by the legendary Dave Hill of Crane Song, HEAT stands for “Harmonically Enhanced Algorithm Technology.” It’s a saturation algorithm that can add analog color or saturation uniquely to each instance, with zero latency.
S6l offline editor pro#
If you’ve followed the Pro Tools world, you’ll have heard about HEAT. This means you can send audio back and forth between multiple S6L systems, send out discrete audio to immersive processors for object-based mixing, or simply distribute signal across networks in a secure and reliable manner.
What does this mean for you? Plug the MLN-192 Milan Option Card into an E6L engine, and you’ve got 128×128 channels of I/O at 96kHz to and from any Milan certified device over a single Ethernet cable. The Milan format was created by a group of audio companies-including Avid, d&b, L-Acoustics, Meyer Sound, and many others-as a sample accurate, plug-and-play network format. If you’ve been watching the networked audio space over the past few years, you may have heard of Milan™, but what is it? It’s a format of AVB that guarantees interoperability with other Milan-certified devices. Once your system is wired up in a redundant star configuration, the systems will immediately see one another and realize that they’re in an I/O sharing scenario and enable the appropriate gain compensation. Similar to two systems on I/O sharing, when running three, head amp gain is automatically compensated seamlessly via Avid’s True Gain technology, with no need for a user to ever deal with any complex setup. With VENUE 7, three systems can be shared, with all inputs showing up to all three systems, so Front of House, Monitors, and Broadcast can now all be connected to the same I/O without that pesky copper splitter. In previous versions of VENUE, engineers could connect up two systems and share the Inputs and Outputs of stage racks to both systems. Let’s take a closer look at some of these key features in VENUE 7: I/O Sharing & Gain Tracking for 3 Systems in Star Configuration
S6l offline editor software#
S6l offline editor serial number#
S6l offline editor update#
Get ready for the biggest live sound console update that you’ve ever seen! VENUE 7.0.0 Features: We went through almost every S6L user request, identified which were the most requested, figured out what was actually achievable within the year, and got them done. So, what do you call it when it’s got all of those AND a heck of a lot more? We called it VENUE 7, and it’s packed with updates including over 400 bug fixes and an almost unreasonably long list of new features.
A launch with bus-to-bus routing would be epic. If Avid did a release with HEAT processing on every input channel it would be huge. If Avid released software with post-fader inserts in it, it would be a big release.
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