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AVID VENUE S3L-X Package Used, Second hand

Ref. code: 1.06.184

VENUE S3L 

The power of Avid VENUE everywhere

Go from stage to studio and beyond. With Avid VENUE | S3L-X, you get the incredible sound clarity, power, and efficiency of VENUE in an ultra compact system. But that's not all. Archive shows directly to Pro Tools. Streamline FOH, monitor, and broadcast workflows by sharing the same I/O across multiple networked systems. You can even set up a mobile recording/mixing studio using just the control surface and Pro Tools on your laptop, making S3L-X the most versatile system in live sound. And with the latest VENUE software, you gain new touchscreen workflows for faster navigation, plus support for the new VENUE | On-Stage iOS app for remote monitor mix control.

Control mixes with a touch just added

With Avid VENUE 4.6 software, you gain a whole new level of touchscreen capabilities to navigate mixes and get to what you need faster similar to the touch-based workflows in VENUE | S6L. Tap parameters on your display to target and assign them instantly to your S3 Channel Control encoders for easy access. Adjust faders and other settings directly on the touchscreen. Plus, the latest software also includes numerous system optimizations and improvements, so you experience even greater performance than ever before.

Mix monitors on your iPhone or iPad just added

Wish you could step away from your console and fine-tune individual monitor mixes on stage. You can with the new VENUE | On-Stage iOS app, which enables you to control Aux master levels, Aux send levels, and Aux pans remotely through its VENUE-style interface. You can even let performers control their own monitor mixes using their own mobile devices. Best of all, it`s a free download from the Apple App Store.

Mix anything, anywhere

It may be small, but it's mighty. From major festivals to clubs with the tiniest FOH spaces, the compact Avid VENUE S3L-X can handle even the most demanding live productions. Experience exceptional performance when handling plug-in-heavy mixes. Mix and record live shows with the utmost efficiency. And easily scale your system to accommodate any size production.

Achieve incredible sound live

VENUE systems are respected for their sound quality. The clarity. The warmth. S3L-X is no different, offering professional-grade I/O, transparent preamps, and EQ and dynamics on all outputs. And with direct support for the same plug-ins used in top recording studios, you can easily re-create an artist's signature studio sound live. And eliminate expensive outboard gear and cumbersome external plug-in servers.

Set up a mobile studio

You archive every live show. But what happens to the recordings. With S3L-X, you can use the S3 as a standalone control surface with your laptop to remix shows to share with fans or for future commercial release. Not just Pro Tools sessions, but projects created in Logic, Cubase, and other DAWs too. What's more, you even record overdubs and more through the S3's built-in 4x6 audio interface.

Reduce complexity and cost

Forget fussing with bulky analog splits. With S3L-X, you can share the same I/O across multiple networked systems without any loss of audio quality. This alone can save you thousands by reducing I/O and cable requirements, set-up time, and transportation costs. Plus, True Gain technology automatically manages gain compensation to ensure the proper signal levels in each engineer's mix.

Scale up without being weighed down

With S3L-X, you can easily scale the system to meet your needs. Go from 16 mic pres with one Stage 16 box up to 64 with four. Rack your I/O in one location for easy supervision, or place each box closer to sources throughout the venue up to 328 feet (100 meters) away. And with Ethernet AVB connectivity, all you need are lightweight, inexpensive Cat5e cables, putting an end to expensive, bulky analog snakes.

Get quick "n" easy USB drive recording

Don't need a full Pro Tools multitrack session. Get 2-track recording and playback by connecting a USB Flash drive to the E3 engine. Archive stereo recordings of your board mix. Organize playlists in VENUE software to play pre-show or walk-up music. You can even integrate audio files with VENUE snapshots and events to trigger spot effects, cues, and music beds for theater performances.


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Used AVID


Avid Technology is an American technology and multimedia company founded in August 1987 by Bill Warner, based in Burlington, Massachusetts. It specialises in audio and video; specifically, digital non-linear editing (NLE) systems, video editing software, audio editing software, music notation software, management and distribution services.
Avid products are now used in the television and video industry to create television shows, feature films, and commercials. Media Composer, a professional non-linear editing system, is Avid`s flagship product.Avid was founded by Bill Warner—a marketing manager from Apollo Computer. A prototype of their first non-linear editing system—the Avid Media Composer—was shown at the National Association of Broadcasters (NAB) convention in April 1988. The Avid was based on an Apple Macintosh II computer, with special hardware and software of Avid`s own design installed. The Avid was "the biggest shake-up in editing since Melies played with time and sequences in the early 1900s".By the early 1990s, Avid products began to replace such tools as the Moviola, Steenbeck, and KEM flatbed editors, allowing editors to handle their film creations with greater ease. The first feature film edited using the Avid was Let`s Kill All the Lawyers in 1992, directed by Ron Senkowski. The film was edited at 30fps NTSC rate, then used Avid MediaMatch to generate a negative cutlist from the EDL.The first feature film edited natively at 24fps with what was to become the Avid Film Composer was Emerson Park. The first studio film to be edited at 24fps was Lost in Yonkers, directed by Martha Coolidge. By 1994 only three feature films used the new digital editing system. By 1995 dozens had switched to Avid, and it signaled the beginning of the end of cutting celluloid. In 1996 Walter Murch accepted the Academy Award for editing The English Patient (which also won best picture), which he cut on the Avid. This was the first Editing Oscar awarded to a digitally edited film (although the final print was still created with traditional negative cutting).
In 1994 Avid introduced Open Media Framework (OMF) as an open standard file format for sharing media and related metadata. In recent years the company has extended its business expertise through several acquisitions and internal investments towards the full palette of multimedia generation products including those to store and manage media files. In 2006 Avid launched new products such as Avid Interplay and Unity Isis. Avid used to be considered just a "video editing" company, but now has consolidated a well-rounded multimedia generation technology company.
 

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Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
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Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.

Octave: The difference between two frequencies where one is twice the other. For example, 200 Hz is an octave higher than 100 Hz. 400 Hz is one octave higher than 200 Hz.

Optical Digital Cable: Fiber optic cable that transfers digital audio signals as light pulses.

Outcue/Outq/Out-Point: These words all refer to the final few seconds of audio signifying the conclusion of the production.

Package: A completed and fully edited audio piece.

Passive: Not active. A passive crossover uses no external power and results in insertion loss. A passive speaker is one without internal amplification.

Phase: Time relationship between signals it’s all relative.

Power Output: A measure, usually in watts, of how much energy is modulated by a component.

Preamplifier: A control and switching component that may include equalization functions. The preamp comes in the signal chain before the amplifiers.

Pre Outs: Connectors that provide a line-level output of the internal preamp or surround processor.

Pre Outs/Main Ins: Connectors on a receiver that provide an interruptible signal loop between the output of the internal preamp or surround processor portion of the receiver and the input of the amplifier portion of the receiver.

Pre/Pro: A combination preamp and surround processor.

Processors: Anything that processes an incoming signal in some way. Surround processors, for example, can decode a Dolby Digital signal to send to an amp so you can hear it.

Pulse Code Modulation: (PCM) a way to convert sound or analog information to binary information (0s and 1s) by taking samples of the sound and record the resulting number as binary information. Used on all CDs, DVD-Audio, and just about every other digital audio format. It can sometimes be found on DVD-Video.

Q-and-A: Question and answer session.

Receiver: Any component that receives, or tunes, broadcast signals, be it NTSC, HDTV, DBS, or AM/FM radio. Typically refers to the single component that includes a preamp, surround processor, multichannel amplifier, and AM/FM tuner.

Reverberation: The reflections of sound within a closed space.

RF: Radio Frequency. Television signals are modulated onto RF signals and are then demodulated by your television’s tuner. VCRs and DBS receivers often include channel 3 or 4 modulators, allowing the output signal to be tuned by the television on those channels. Also, laser discs used an RF signal for modulating Dolby Digital 5.1 soundtracks on some movies. This requires an RF demodulator (usually referred to as an AC3-RF demodulator) before or in the surround processor to decode the signal.

RMS: Root Mean Square or the square root of the arithmetic mean (average) of the square’s set of values. A reasonably accurate method of describing an amplifier`s power output.

SACD: Super Audio CD. Enhanced audio format with up to six channels of high-resolution audio encoded using DSD. Requires an SACD player. Multichannel also requires a controller with six-channel analog or proprietary digital inputs for full playback.

Sampling Frequency: How often a digital sample is taken of an analog wave. The more samples taken, the more accurate the recording will be. You need to sample at a minimum of twice the highest frequency you want to capture. For example, the 44.1-kilohertz sampling rate of a CD cannot record sounds higher than 22.05 kilohertz.

Scener: A radio report in which the announcer is recorded at the same time and place as the background sound of an event.

Sensitivity: A measurement (in dB) of the sound-pressure level over a specified frequency range created by a speaker driven by 1 watt (2.83V at 8 ohms) of power with a microphone placed 1 meter away.

Signal-to-Noise Ratio: A comparison of the signal level relative to the noise level. Larger numbers are better.

Simultaneous Interpretation: This system allows attendees to hear the meeting in their own language.

Sound Bite: A portion of audio of someone speaking.

Sound field: The total acoustical characteristics of a space, such as ambience number, timing, and relative level of reflections ratio of direct to reflected sound RT-60 time etc.

Soundstage: The area between two speakers that appears to the listener to be occupied by sonic images. Like a real stage, a soundstage should have width, depth, and height.

Speaker: A component that converts electrical energy into acoustical energy.

SPL: Sound-Pressure Level. Measured in dB.

Subwoofer: A speaker designed to reproduce very low bass frequencies, usually those below about 80 Hz.

THX: Certification program for home theater equipment. Uses some proprietary features, but mostly assures a base quality level for a given room size. (See THX select or Ultra.) Is compatible with any and all soundtrack formats. Stands for either Tom Holman’s eXperiment, after the engineer who drafted the original standard, or is named after the company’s founder George Lucas first movie, THX 1138. Nobody agrees on which.

THX select: Certification program for speakers and receivers that assures a base level of quality and performance when played in a room that’s between 2,000 and 3,000 cubic feet.

User-Generated Content (UGC): Text, photos, video or audio supplied by the customers of a company.

Voicer: A radio report without background audio taken from a scene or otherwise.

Wrap: A radio report containing both the reporter and an actuality.


Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.

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