VENUE SC48 Guide

and VENUE Software 3.0

9320-65058-00 REV B 2/12

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Contents

Part I

Overview and Installation

Chapter 1. Introduction to VENUE SC48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

VENUE SC48 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Whats Included . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Additional Required Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Optional Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
SC48 Expansion Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Operational Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Connection Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Chapter 2. Configuring and Connecting SC48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Unpacking and Assembling the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Connecting SC48 Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Connecting AC Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Connecting a VGA or DVI Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Connecting USB Keyboard and Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Connecting Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Connecting Synchronization, Control, and Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Powering Up the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Powering Down the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Setting the System Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Installing Other Optional Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
About Digital Input and Sample Rate Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Part II

System Description

Chapter 3. VENUE SC48 Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

VENUE SC48 Top Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Input Channels and Faders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Selected Channel Sections (ACS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Flex Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Output Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Master and Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Contents iii

Chapter 4. Basic Commands and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Config Mode and Show Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
System Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Global Modifier Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Software Screen Pages and Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Chapter 5. Navigating and Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Banking Input Channels and FX Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Banking the Output Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Selecting and Targeting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Targeting Plug-In Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Screen Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Screen Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Input Channel Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Chapter 6. Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Using Channel Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
User Assignment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Availability of Channel Control Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Chapter 7. Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Pickoffs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Misc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Interaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Part III

Signal Routing

Chapter 8. Inputs and Input Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Configuring Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Assigning Input Sources to Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Routing Input Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Using Built-In Dynamics and EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Using Inserts on Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Adjusting Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Flex Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Using Input Direct . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

iv

VENUE SC48 Guide

Chapter 9. Outputs and Output Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Configuring Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Assigning Busses to Hardware Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Routing Group Outputs to the Main Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Using Inserts on Output Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Adjusting Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Adjusting Main Bus Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Direct Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Assigning and Using VCAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Chapter 10. Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Configuring Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Routing Inputs to Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Routing Group Outputs to the Main Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Managing Group Bus Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Group Bus Signal Flow Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Adjusting Group Bus Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Simple and Expert Operational Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Chapter 11. Aux Sends and Variable Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Configuring Aux and Variable Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Routing Inputs to Aux Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Adjusting Aux Send Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Routing Auxes and Var Groups to Direct Outs, EQs, and Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Managing Aux Bus Assignments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Activating Variable Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Chapter 12. Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Configuring Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Adjusting Matrix Mixer Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Adjusting Matrix Mixer Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Snapshot Data and Parameters for Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Chapter 13. Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Accessing the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Overview of the Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Navigating the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Routing Channels in the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Warning when Stealing Inputs or Outputs in the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
VENUE System Information Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Patch List Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Chapter 14. Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Channel Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
ACS Input and Dynamics Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Metering Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Metering Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Contents

Chapter 15. Solo and Monitor Busses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Solo Bus Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Selecting a Solo Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Solo Operation Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118
Solo Bus Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Soloing Single Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Solo Safing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Monitor Bus Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Talkback, 2-Track and Oscillator Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Chapter 16. Muting and Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Muting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
Function Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Part IV

Processing

Chapter 17. Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Built-In Compressor/Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133
Built-In Expander/Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
Adjusting Dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Channel Modes Affecting Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Dynamics Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Side-Chain Keys and Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Chapter 18. EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Built-In EQ Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141
Channel Modes Affecting EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Adjusting EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Graphic EQ for Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Adjusting EQ Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
EQ Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Chapter 19. Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Installing and Authorizing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Plug-in Version Checker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
USB Ports for iLoks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Overview of Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Plug-In Racks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Rack Slots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Assigning and Routing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Adjusting Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Plug-In Presets and Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Plug-In DSP Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Plug-In Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Plug-In Latency and Processing Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Chapter 20. Hardware Inserts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Assigning Hardware Inserts to Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

vi

VENUE SC48 Guide

Part V

Shows

Chapter 21. Shows and File Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Creating Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
Loading Shows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Working with Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Transferring Settings, Shows and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Undoing Changes Using the History Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Chapter 22. Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Snapshots Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Snapshot Controls on the SC48 Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Snapshots List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Creating Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Recalling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Recall Safe and Channel Automation Safe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Managing Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188
Making Changes to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Preview Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Undoing Snapshot Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Disabling Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Adding MIDI Messages to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Adding Tempo Data to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Adding Plug-In Data to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Snapshot Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Snapshot Data Types and Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Chapter 23. Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
The Events Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202
Creating Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Creating Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205
Creating Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Testing Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
Resetting Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Snapshots and Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Default Settings, Templates and Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Tap Tempo for Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Trigger Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Action Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Chapter 24. Synchronization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Automating Recall of Snapshots with MIDI Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Remote Control of Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Triggering of External Devices on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Sending MIDI Messages on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Synchronizing with Word Clock and Digital Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Contents

vii

Chapter 25. Using the Standalone Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Installing the Standalone Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Simulating a VENUE Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Transfer and Filing Quick Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Exporting System Information and Patchbay Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Part VI

Specifications

Chapter 26. Mechanical Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Chapter 27. Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Stage I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
FOH I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Chapter 28. Signal Flow Diagrams. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

VENUE SC48 Input Signal Flow Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
VENUE SC48 Output Signal Flow Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Chapter 29. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Problem Solving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
In Case of System Failure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Performing a Soft Reset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Hardware Monitoring Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Resetting Hardware Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240
Using the System Restore CD to Update or Restore the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Part VII

Reference

Chapter 30. Console Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

GPI (General Purpose Interface) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
GPI Wiring Diagrams. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Chapter 31. FWx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

FWx Capabilities and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
FWx Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Pro Tools Requirements for FWx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Installing Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Using FWx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Pro Tools System Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Signal Routing for FWx Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Signal Routing for FWx Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Using Synchronization and Time Code with FWx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Chapter 32. ECx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

ECx Capabilities and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
ECx Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Installing ECx Host Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Overview of ECx Setup and Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
viii

VENUE SC48 Guide

Connecting a Computer Directly to VENUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Connecting a Wireless Router or WAP to VENUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Setting VENUE and Client IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Establishing a Wireless Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Enabling Remote Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Disconnecting ECx. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Changing the Ethernet Control Password . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Appendix A. Compliance Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Environmental Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
EMC (Electromagnetic Compliance) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Safety Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Contents

ix

Part I: Overview and Installation

Chapter 1: Introduction to VENUE SC48

Welcome to the VENUE SC48 live sound mixing console. SC48, part of the modular VENUE live sound environment from Avid ,
features an intuitive control surface layout, a flexible I/O scheme, powerful digital processing and integrated Pro Tools recording and playback.
The SC48 is fully self-contained, featuring local FOH and Stage I/O. The SC48 Remote features local FOH and Stage I/O, as well
as remote Stage I/O located in the included Stage 48 remote stage box. Up to two Stage 48s can be connected to an SC48 Remote.
Connections from the SC48 Remote to Stage 48s are made using highly-reliable, low-latency, and fully-redundant Ethernet AVB
digital snake connections.

VENUE SC48 Features

Figure 1. VENUE SC48 console

Control Features
16 bankable input channel strips, each with a touch-sensitive fader, one multi-purpose assignable rotary encoder,
solo, mute and select controls
Built-In High-Pass Filter, Dynamics and EQ processors
on each input channel strip

One FlexChannel for full-time, high-resolution control of

your primary input (podium, lead vocal, soloist, or other)
Eight multi-purpose Output faders strips, each with a
touch-sensitive fader, one multi-purpose encoder, solo,
mute and select controls
One Mains fader

Level meters on each input channel strip

Up to 24 31-band Graphic EQs available for Outputs

Channel Control section for customizable center section

control of input settings, dynamics and EQ (or dyn/EQ
plug-ins) settings, and Aux Sends.

Main Busses configurable as LeftCenterRight or

LeftRight+Mono

Chapter 1: Introduction to VENUE SC48 1

Audio I/O

CPU, DSP, and System Drives

In SC48, all I/O is located in the console. In the base configuration of the SC48 Remote, 32 Stage input channels and 16
Stage output channels are located remotely in the Stage 48 remote stage box, and 16 Stage inputs are located in the console.
In both systems, FOH I/O is located in the console.

The SC48 houses the CPU, DSP Mix Engine, hard drive and
CD-ROM drive that run the VENUE software on your system.
VENUE software is installed at the factory. The CD-ROM drive
lets you update or restore your VENUE system software, and
install compatible plug-ins from their installer discs.

SC48 Stage I/O

Power Supply Units (PSUs)

48 on-board analog mic/line inputs with mic preamps for

stage inputs. Each fully recallable input provides discrete,
selectable phantom power, input gain, polarity invert,
and a High-Pass filter
16 on-board analog output channels (expandable up to
32) to connect to mains and monitors
SC48 Remote Stage I/O

32 remote analog mic/line inputs with mic preamps for

stage inputs located in the Stage 48 remote stage box, and
16 local analog mic/line inputs with mic preamps for
stage inputs located in the console. Each fully recallable
input provides discrete, selectable phantom power, input
gain, polarity invert, and a High-Pass filter
16 remote analog output channels to connect to mains
and monitors located in Stage 48 remote stage box (expandable to up to 32 by adding a second output card either locally or remotely)
FOH I/O

Talkback mic input, with gain and phantom power

Headphone output
Analog and digital (AES) 2-Track inputs and outputs
FWx port (FireWire 1394) providing up to 32 channels of
fully integrated recording and playback with a compatible Pro Tools system
Analog and digital FOH I/O expandable with the addition
of an IO16 card

All VENUE SC48 units ship with at least one universal PSU
(100V to 240V nominal 5060 Hz).

Remote Snake Connections

(SC48 Remote Only)

Four locking Neutrik etherCon RJ45 ports for connecting to

up to two Stage 48 remote stage boxes (ports A1 and B1 for
primary snake connections, ports A2 and B2 for redundant
snake connections).

Whats Included
SC48 and SC48 Remote

All SC48 and SC48 Remote systems include the following:

VENUE SC48 console
Two (2) IEC power cables, North American standard
Monitor mount (for VGA screen, screen not included)
Mouse tray (mouse/trackball not included)
Accessory tray
VENUE Mouse Pad
Dust cover
VENUE SC48 Guide
SC48 Accessories Guide
Live Recording Guide
Health and Safety Guide

Synchronization, Control and Utility I/O

Four external USB 2.0 inputs for keyboard, mouse, iLok
USB Smart Keys, and USB storage devices
One internally-mounted, secure USB 2.0 port
Video monitor port (VGA and DVI connectors) for software screen display

SC48 Remote systems include the following additional items:

Stage 48 remote stage box preinstalled with two AI16 Analog Input cards and one AO16 Analog Output card
One (1) IEC power cable, North American standard

MIDI In and Out ports, providing 16 channels of MIDI input and 16 channels of MIDI output

Four (4) rear rack brackets (recommended for rear support when mounting Stage 48 in a standard 19 rack)

Word clock I/O for digital clock synchronization

Stage 48 Quick Start Guide

One RJ-45 (100 BaseT Ethernet) port for ECx Ethernet-based remote control

Stage 48 Guide

Two GPI inputs and two GPI outputs (DB9)

Two three-pin XLR lamp light outputs
Two female 1/4-inch TS footswitch jacks

SC48 Remote

VENUE SC48 Guide

Health and Safety Guide

Software CDs, iLoks

System Restore CD
ECx Ethernet Control Software Installer CD
Standalone Software Installer CD (includes VENUE user
guides and other documentation)

SC48 Expansion Options

The following I/O options are available for VENUE SC48 systems. For details on all VENUE systems and options, visit the
Avid website (www.avid.com).

One (1) iLok USB Smart Key (for storing plug-in authorizations)

Stage Input Cards You can replace any of the three Stage input

Plug-in installer discs with pre-authorized iLok

Stage Output Cards Output can be expanded to up to 32 chan-

Pro Tools software (requires a separate computer)

nels for expanded analog output, for mixed analog/digital output, or for personal monitoring.

cards with a new AI16 Analog Input card.

Additional Required Components

Analog outputs can be expanded by installing an additional AO16 Analog Output card.

The following required components must be purchased separately:

Analog and digital output can be added by installing an

XO16 Analog/Digital Output card, providing eight
digital output channels in addition to eight more analog
outputs.

Video Display (15-inch or greater flat-panel TFT display recommended; 1024x768 minimum resolution)VGA and DVI
supported
USB keyboard and trackball/mouse (Windows compatible)
For SC48 Remote systems, a shielded Cat5e or better Ethernet cable with Neutrik etherCON connectors for the primary
digital snake connection to Stage 48

For personal monitor mixing, the AT16 A-Net Output

card can be added to integrate VENUE SC48 with
Aviom networks and Pro16 TM Series mixers.
In SC48 Remote systems, an additional output card can be
installed in the console or in a second, optional Stage 48.
IO16 Card Analog and digital FOH input and output can be ex-

Optional Components
The following components are optional, and must be
purchased separately:
USB flash disk (or other portable USB storage device for
transfer of Show data; 512 MB or larger recommended)
Headphones with 1/4-inch jack (for FOH monitoring)
Dynamic or condenser microphone and XLR mic cable
(for Talkback)
Footswitches (up to 2)
MIDI cables (for connecting external MIDI devices)
BNC cables (for connecting Word clock between the
VENUE system and external digital devices)
DB9 (9-pin) cables (for connecting to GPI devices)
Two (2) console lights with XLR3M connectors
Ethernet cables (for connecting to ECx port for remote
operation and to enable VENUE Link)
For SC48 Remote systems, a shielded Cat5e or better
Ethernet cable with Neutrik etherCON connectors for the
redundant digital snake connection to Stage 48

panded by installing an IO16 card. The IO16 card provides

eight channels of analog input and output, and eight AES digital inputs and outputs. You can use these inputs and outputs
for hardware inserts to integrate outboard equipment with
SC48, and/or for additional discrete inputs and outputs.
Remote I/O For SC48 Remote systems, a second Stage 48 can

be added, and an additional output card can be installed in it.

You can also move the AI16 input card in your console to this
second Stage 48
A standard SC48 can be converted to an SC48 Remote by installing an Ethernet Snake card in the console and locating existing and new I/O cards in up to two Stage 48s. Some or all
Stage I/O can be located in the Stage 48s, up to the maximum
Stage I/O capacity of SC4848 Stage input channels and 32
Stage output channels of combined local and remote Stage I/O.
Converting an SC48 to an SC48 Remote system can only be
done by Avid-authorized service personnel. However, owners are authorized to remove Stage I/O cards from SC48 and
install them into Stage 48.
An IO16 card can be installed in an SC48 Remote system
even if the system is configured with the maximum
amount of Stage I/O.

Chapter 1: Introduction to VENUE SC48 3

Operational Requirements

Connection Requirements

Temperature and Ventilation

Power Connections for SC48

VENUE units should be operated away from heat sources and

with adequate ventilation.

SC48 requires its own power connection for primary and redundant PSUs.

Hardware monitoring and automatic warnings are provided for temperature, power and other factors. For more
information, see Hardware Monitoring Window on
page 240.
Storage

VENUE SC48 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

VENUE SC48 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 front and back panels of VENUE SC48
should be exposed to ambient air. Do not block the ventilation
holes on any VENUE SC48 component.
Do not operate in direct sunlight or at extreme ambient temperatures.

SC48 with Redundant PSUs and UPSs

When using an uninterruptable power supply (UPS) it is recommended to connect one of the console power supplies to the
UPS and the other directly to house power.

Audio Connections
All SC48 and Stage 48 analog audio inputs and outputs (except
Headphones) are balanced XLR or balanced 1/4-inch connections. All external digital audio inputs and outputs are
AES/EBU (XLR) connections.
For more information on audio connectors and specifications, see Chapter 27, Audio Specifications.

(SC48 Remote Only)

VENUE units 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.
Humidity ranges for storage and operation
Storage humidity range

5% to 95%, non-condensing

Operating humidity range

20% to 80%, non-condensing

Cleaning and Maintenance

Use a dry cloth to clean the top surface of the SC48. Do not apply any cleaning solutions, spray cleaners, or abrasives to the
surface.

VENUE SC48 Guide

In systems with redundant PSUs, both PSUs are capable of operating at 50 to 60 Hz across a voltage range of 100 to 240 V.

Digital Snake Connections

Water and Moisture

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.

Shielded Cat5e or better Ethernet cable with Neutrik

etherCON connectors are required for the primary and redundant digital snake connections to Stage 48.

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/compatibility

Conventions Used in This Guide

About www.avid.com

All of our guides use the following conventions to indicate

menu choices and key commands:

The Avid website (www.avid.com) is your best online source

for information to help you get the most out of your system.
The following are just a few of the services and features available.

Convention

Action

Options > System

In the VENUE software, click

Options to display the Options
page, then click the System tab.

Product Registration Register your purchase

online.

File > Save

Choose Save from the File menu

Support and Downloads Contact Customer Success (technical

Control+N

Hold down the Control key and

press the N key

support); download software updates and the latest online

manuals; browse the Compatibility documents for system requirements or search the online Knowledgebase.

Control-click

Hold down the Control key and click

the mouse button

Right-click

Click with the right mouse button

The names of Commands, Options, and Settings that appear

on-screen are in a different font.
The following symbols are used to highlight important information:

Training and Education Study on your own using courses

available online or find out how you can learn in a classroom
setting at a certified Avid training center.
Products and Developers Learn about Avid

products; download demo software or learn about our Development Partners and their plug-ins, applications, and hardware.
News and Events Get the latest news from Avid or sign up for

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.

a product demo.
Pro Tools Accelerated Videos Watch the series of free tutorial

videos. Accelerated Videos are designed to help you get up and

running with Pro Tools and its plug-ins quickly.
Live Sound Webinars Watch free tutorial videos and

Shortcuts show you useful keyboard or mouse shortcuts.

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

VENUE-specific webinars to learn from the experts.

To learn more about these and other resources available from
Avid, visit our website (www.avid.com).

Registration
Review the enclosed Registration Information Card and follow
the instructions on it to quickly register your purchase online.
By registering, you become eligible to receive the following:
Technical support information
Software update and upgrade notices
Hardware warranty information

Chapter 1: Introduction to VENUE SC48 5

VENUE SC48 Guide

Chapter 2: Configuring and Connecting SC48

The chapter shows how to get your SC48 and SC48 Remote up
and running by doing the following:
Unpack and assemble the console
Connect the following to the SC48:
Power (AC)
Display (VGA/DVI)
USB keyboard and mouse
Audio (stage and FOH inputs and outputs)
For SC48 Remote systems, Ethernet snake(s)
Synchronization and control (Ethernet, MIDI, or Word
clock) and lights
Power up the system
Install other optional software or updates

Unpacking and Assembling the

Console
Unpacking the SC48
Always use at least two people when lifting or moving SC48.

Remove all components from the shipping packaging. Keep

included items organized, making sure to keep them with
their associated component after unpacking.
Place the VENUE SC48 console on a table or other stable
surface that leaves full access to the front and back panel
connectors.
Make sure all components are free of any bags, padding or
other materials.
Assembling the SC48

SC48 includes a Video Monitor Mount for your VGA/DVI

monitor, a mouse tray, and an accessories tray. See Figure 2 to
attach your video monitor, mouse tray, and accessories tray to
the console.

Figure 2. Video Mount, Mouse Tray and Accessory Tray

Chapter 2: Configuring and Connecting SC48 7

Connecting SC48 Systems

SC48 Back Panel
In SC48 systems, the back panel provides power, audio and other connectors, as well as the master power and reset switches.
Stage Outputs

Power and Reset switches

Stage Inputs

FOH I/O

Power and Display

Figure 3. SC48 back panel

SC48 Remote Back Panel

In SC48 Remote systems, the back panel of the SC48 console provides power, audio and other connectors, the master power and
reset switches, as well as primary and redundant Ethernet Snake connections for up to two Stage 48 remote stage boxes.
Power and Reset switches

Ethernet Snake connectors and LEDs

FOH I/O

Figure 4. SC48 Remote back panel

VENUE SC48 Guide

Power and Display

Local Stage Inputs

Stage 48 Front Panel

The Stage 48 front panel provides Stage I/O and digital snake connectors to connect to the SC48 console, Power, Status, and signal
LED indicators, an ID Switch, and a Reset button. Primary and redundant snake connections are made using Ethernet cables. Redundant snake connections feature automatic failover in case the primary snake is damaged or otherwise fails.
Do not power up the console or any Stage 48 units before making Ethernet snake connections. After connecting the snakes, it is important to follow the proper power-up sequence for SC48 Remote systems. See Powering Up the System on page 15.

I/O section

2
6

Act and Sig LEDs

(Primary snake)

Status LED
Power LED

ID Switch

Redundant snake connector

Recessed Primary snake connector

pushbutton

Act and Sig LEDs

(Redundant snake)

Figure 5. Stage 48 front panel

To make snake connections between SC48 and Stage 48:
1

Connect an Ethernet cable from the port labeled A1 on SC48 to the port labeled 1 on the first Stage 48.

To make a redundant connection, connect an additional Ethernet cable from the port labeled A2 on SC48 to the port labeled
2 on the first Stage 48.

On the first Stage 48, set the ID Switch to position 1.

To connect a second Stage 48, do the following:

For the primary snake connect an Ethernet cable from port B1 on SC48 to port 1 on the second Stage 48.
For the redundant snake connect a cable from port B2 on SC48 port 2 on the second Stage 48.
On the second Stage 48, set the ID Switch to position 2.

Chapter 2: Configuring and Connecting SC48 9

Connecting AC Power

Connecting a VGA or DVI Display

SC48 Console

One VGA connector and one DVI connector are provided to

connect a VGA/DVI-compatible video display (not included).

AC power connectors are located on the back panel of SC48.

One (or two) male, 3-pin North American standard IEC power
sockets with cable retaining clips are provided (one on standard SC48 units, and two on units ordered with a second redundant power supply).

VGA connector
DVI connector
monitor
VGA and DVI display connectors on the back panel
To connect a computer display:
Plug a VGA or DVI display cable into either the VGA or DVI
connector. (These two ports mirror each other; they are not
discrete video outputs.)

Power

Power connectors on the back panel (two-PSU model shown)

Connecting USB Keyboard and Mouse

To connect power to SC48:

Connect the included IEC power cable(s) between the Power

connector(s) on SC48 and your power source.

Stage 48

There are three USB 2.0/Type A ports on the front of the SC48
console to connect a USB keyboard, trackball/mouse, or key
disks.

The AC power connector is located on the back panel of

Stage 48. One male, 3-pin North American standard IEC
power socket with cable retaining clips is provided.

SC48 front

Front panel USB ports for keyboard and mouse

To connect a USB keyboard and trackball/mouse:

Power
Power connector on the Stage 48 back panel
To connect power to Stage 48:
Connect the included IEC power cable between the Power
connector on Stage 48 and your power source.

10

VENUE SC48 Guide

Connect them to the USB ports on the front of SC48.

Two more USB ports are also provided, one on the back panel
and one concealed within the console itself. For more information, see Secure USB Port on page 15.

Connecting Audio
SC48
SC48 provides 48 analog mic/line inputs and up to 32 analog line outputs for stage audio, and a variety of analog and digital audio
inputs and outputs for FOH/mix position audio. You can use an analog multicore snake cable (not included) to carry multiple
stage inputs and outputs to and from the console, or you can connect mics, instruments and other sources directly to SC48 analog
mic/line inputs, and connect SC48 outputs directly to the inputs on your house/mains, monitors, or other destinations.
Stage Inputs 148
(Analog Mic/Line XLR Inputs)

The Stage Input section provides 48 channels of analog mic/line inputs (XLR), to connect stage input sources. Use a standard
analog snake, or connect sources directly to Stage inputs 148.

Analog multicore (snake)

A
116
B
1732

Stage
inputs

C
3248

Figure 6. SC48 I/O slots AC for stage inputs 148

Stage Outputs 116

(Analog Line XLR Outputs)

The Stage output section provides up to 32 channels of stage output (XLR), to connect to house/mains, monitors, additional
zones, or feeds to other devices. On a standard SC48 console with a single AO16 card in slot D, hardware outputs are numbered
116.

D
116
To house/mains,
monitors, zones

Stage
outputs

E
1732

Figure 7. SC48 I/O slots D and E for stage Outputs 132

Adding an AO16, XO16, or AT16 output expansion card will add outputs to slot E, and those hardware outputs will be numbered
1732.

Chapter 2: Configuring and Connecting SC48 11

SC48 Remote
SC48 Remote systems provide 48 analog mic/line inputs and up to 32 analog line outputs for stage audio, and a variety of analog
and digital audio inputs and outputs for FOH/mix position audio.
Stage Inputs 148
(Analog Mic/Line XLR Inputs)

With SC48 Remote systems, Stage inputs 132 and Stage outputs 116 are located in the Stage 48 remote stage box. Stage input
channels 3348 are located in slot C of the console.
Stage Outputs 116
(Analog Line XLR Outputs)

SC48 Remote systems provide up to 32 channels of stage output (XLR), to connect to house/mains, monitors, additional zones,
or feeds to other devices. On an SC48 Remote system with an AO16 card located in the first Stage 48, hardware outputs are numbered 116.
An IO16 card can be installed in an SC48 Remote system even if the system is configured with the maximum amount of Stage I/O.

Stage
inputs
132
Stage
To house/mains,
outputs
116 monitors, zones
2
5

Stage 48 (1)

Primary snake
connection

Stage
outputs
1732

Redundant snake connection

2
5

Stage 48 (2)
(optional)
Ethernet
Snake

Stage inputs
3348

Figure 8. SC48 Remote Back panel and Stage 48 I/O slots and snake connectors

An AO16, XO16, or AT16 output expansion card can be added to SC48 Remote systems, and those hardware outputs will be numbered 1732. For example, a second Stage 48 with an output card installed in it can be connected to SC48 to expand system outputs.

12

VENUE SC48 Guide

FOH Inputs and Outputs

The FOH I/O section of the SC48 console provides connectors and controls for Talkback, 2-Track, Pro Tools and other sources and
destinations used at the mix position, as explained in the following sections.

Gain

1394
FWx
for Pro Tools

2-Tr
AES
Footswitch Word Clock

GPI

MIDI

15V
Input

2-Tr
Analog

Talkback

Figure 9. FOH connectors and controls

Talkback

2-Track Digital Inputs and Outputs

The Talkback Mic connector and controls allow connection of

a microphone for communicating to stage or through the
Mains. The Talkback Mic input is a female XLR connector. The
Talkback input has adjustable gain and switchable +15V
phantom power.

These 2-Track digital connections are used for input and output of digital audio material. The stereo AES/EBU connectors
support 24-bit, 48 kHz digital signals. Input signals with other
sample rates are sample-rate converted to 48 kHz.

To connect a mic for Talkback:

Plug a dynamic or condenser talkback microphone into the

back panel Talkback connector.

Do not connect an intercom system directly to the Talkback

input, as some intercom systems use a signalling voltage
which can damage the SC48 input card.
To adjust Talkback Gain:
Turn the back panel Gain knob (or adjust the on-screen
Talkback level control in the Options > Misc page).

2-Track Analog Inputs and Outputs

These 2-Track analog connections are used for input and output of analog audio material. These are balanced 1/4-inch TRS
connectors.
1394 (FWx)

This Firewire port is for integrated Pro Tools recording and

playback with VENUE FWx. FWx provides up to 32 channels
of simultaneous I/O directly to and from a compatible
Pro Tools system.
For more information, see Chapter 31, FWx.

To enable or disable phantom power on the Talkback input:

Slide the +15V switch to the right on position

Chapter 2: Configuring and Connecting SC48 13

Connecting Synchronization, Control,

and Lights
SC48 provides the following connectors for synchronization,
control, and illumination.

To sync an external digital device to SC48 Word Clock Out:

Connect the Word Clock Out on the SC48 back panel to the
corresponding digital device. Set the external device to slave
to the incoming word clock signal.

SC48 (back)

External digital device

BNC
Set device to slave to
incoming Word Clock

Word Clock Out

Using word clock from SC48 to clock an external device

MIDI
These MIDI In and Out Ports provide 16 channels of MIDI input and 16 channels of MIDI output to the system. The
MIDI I/O ports are used in sending and receiving Snapshot
MIDI messages, and in receiving MIDI Time Code from
external devices.
To make MIDI connections to SC48:
Connect a compatible MIDI device to the MIDI In and MIDI
Out ports.

Footswitch 1 and 2
Two female 1/4-inch TS footswitch jacks are provided for
switch input. Footswitches can be normally open or normally
closed, latching or momentary. Functions are assigned to
these jacks using the on-screen Options > Events page.

VENUE SC48 Guide

A 9-pin, female DB9 connector provides a 2-in/2-out GPI General Purpose Interface (GPI). For specifications, wiring diagrams and pinouts, see Chapter 30, Console Reference.
GPI Applications

Word Clock

14

GPI Port

GPI inputs are connected to the outputs of a variety of switching devices such as footswitches, momentary or latching
push-button switches, or logic outputs of a larger show control system. Example applications of GPI inputs include remote toggling of a console 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.
Example applications of GPI outputs include the following:
Triggering a sound effects playback machine when a specific
snapshot is recalled.
Lighting a tally light whenever a fader is raised above a minimum threshold.
Flashing or lighting a custom beacon or LED as a reminder
of vital console mode, such as Solo in Place.
Initiating power up of amplifiers and other down-stream
systems when VENUE system is started up or shut down.
GPI functions are managed using the Events List in the
Options > Events window. For more information, see
Chapter 23, Events.
To connect GPI devices to VENUE SC48:

Connect one end of a DB9 cable (not included) to the GPI

port on the back panel of VENUE SC48.

Connect the other end to the appropriate GPI port on the external device.

ECx
One RJ-45 connector is provided for remote Ethernet control
of VENUE from a client computer such as a Mac or Windows
laptop, a tablet, or similar.
This connector is also used to connect the SC48 to a computer
running Pro Tools software, letting you take advantage of
VENUE Link features. VENUE Link provides Pro Tools and
VENUE system integration and interoperability, simplifying
and enhancing live recording and playback tasks.

Powering Up the System

Faders move when power is turned on. Before powering up
the console, make sure all fader paths are clear.
Power up the system in the following sequence:
1

Press the Power switches on any connected Stage 48 units

(located on the back panel, above the AC socket). The Status LED indicator flashes yellow while Stage 48 initializes.

For more information on ECx remote control, see

Chapter 32, ECx.

Wait for Stage 48 to initialize. Initialization is complete

when the Power and Status LEDs on the Stage 48 front
panel are lit solid green.

For complete information on connecting, configuring and

using VENUE Link, see the Live Recording Guide.

Stage 48 Power and Status LEDs also provide error codes

and warnings for the Stage 48. See the VENUE Stage 48
guide for a complete explanation of all Stage 48 LED codes.

Console Lights
Two XLR3F jacks on the top of the console let you connect
console lights (not included).

For SC48 Remote systems, do the following:

Press the Power switch on the back panel of VENUE SC48

(located on the back panel, center top).

To use the console lights:

Power

Plug the console lights into the two Console Light XLR jacks
on the upper part of the back panel.

You can adjust the brightness of the console lights, and separately for the LED and displays, from the Options > Interaction page (see Lights on page 60).

Secure USB Port

One USB 2.0 port is located within the console itself 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. See Figure 2 on page 7 for an
illustration that shows the location of the internal USB port.
To access the internal USB port:

Remove the two screws holding the tray in place and slide
the tray out.

Insert (or remove) your iLok.

SC48 Power switch

3

Turn on any connected computers for recording/playback.

Turn on the audio monitoring system.

Powering Down the System

Power down the system in the following sequence:
1

Turn off the audio monitoring system.

Turn off any connected computers for recording/playback.

Power down VENUE SC48 by doing the following:

Put your system into Config mode (see Toggling Between Config Mode and Show Mode on page 30).

To reassemble, make sure the iLok is firmly seated in the tray

before sliding it back into the unit. Replace the two screws to
secure the tray.

Go to Options > System.

Click Shut Down.
Click Shut Down again to confirm.
For SC48 Remote systems, power down any connected
Stage 48 units.

The console cannot be powered down by momentarily pressing the console Power switch. To force a shut down using the
Power switch, hold the switch for five seconds.

Chapter 2: Configuring and Connecting SC48 15

Setting the System Clock

When you first work with a VENUE system, make sure the system clock time, date and time zone are set appropriately. The
system clock setting can affect data synchronization with portable storage devices. See Synchronizing Settings, Shows and
Presets on page 175.
The system clock time can be shown in the Status bar for constant time-of-day display. For more information, see System
Clock on page 58.
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.

After setting the system clock, do either of the following:

To get started learning the console and configuring it, see
Chapter 3, VENUE SC48 Control Overview.
or
If you want to install any other optional software first
(such as ECx, or included plug-ins) see the next section
(Installing Other Optional Software on page 16).

Installing Other Optional Software

ECx, Plug-ins, and Other

After having unpacked, assembled, connected, and powered

up your SC48 system, you can go ahead and add any additional
software and plug-ins as explained in the following sections.
VENUE SC48 is loaded at the factory with the most recent version of its operating software (VENUE software), as well as the
core set of VENUE plug-ins. You must manually install software for the following:
ECx Ethernet Control If you want to take advantage of the
built-in Ethernet remote control option, install the ECx software from its included installer disc. For instructions, see
Chapter 32, ECx.
Plug-ins All plug-ins (except the included plug-ins) must be

installed manually from their installer discs, or from copies of

the installers transferred to your USB key disk or other storage device. For more information, see Chapter 19, Plug-Ins.

16

VENUE SC48 Guide

About Digital Input and Sample Rate

Conversion
VENUE systems operate at a native sample rate of 48 kHz. The
2-Track AES inputs on the SC48 provide sample rate conversion on input, letting you connect a wide variety of digital
sources without having to be concerned with synchronization
and clock connections.
Sample rate conversion does, however, induce processing delay to the incoming digital signal.
Sample Rate Conversion Latency

The following table illustrates the sample rate conversion processing delay at various sample rates.
Minimum Additional Latency due to Sample Rate Conversion
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

Part II: System Description

Chapter 3: VENUE SC48 Control Overview

VENUE SC48 Top Panel

The following figure identifies the main sections of the VENUE SC48 control surface:
Meters

Snapshots
Console Mode

Mute Groups/
Function

Bus Outputs

Monitoring
Mains

View
Mode

D
A

B
C

Global
Modifiers

A Input Channel Strips 116

B Output Masters Section
C Flex Channel
D ACS (Assignable Channel Section): Selected Channel, Bus Assign and Channel Control
Other: Masters and Global Controls (Snapshots, Mute Groups, Monitoring, Console and View Mod

Figure 10. Main control sections on VENUE SC48

VENUE SC48 provides 16 bankable input channel strips in the Input Channel section, eight bankable output channel strips plus
a Mains fader in the Output Masters section, the Flex Channel strip, and the ACS (or Selected Channel sections) including Input,
Bus Assigns and Channel Control. Surrounding these sections are the masters and global modifiers sections (Console Mode, snapshots, metering, monitoring, and View Mode).

Chapter 3: VENUE SC48 Control Overview 19

Input Channels and Faders

The Input section provides 16 faders and other controls for Input Channels and FX Returns. Additional channels are banked to
the 16 faders using the Bank A, B, C and D switches. All 16 input channels bank together.
Input faders can also be assigned to control FX Returns 18, or the output EQ (graphic EQ).

Each input channel strip includes a channel fader, channel Select, Mute and Solo switches, a rotary encoder, LCD display area and
meters for channel level and dynamics gain reduction. The encoders and associated assignment switches access Gain, Pan, HPF
and Aux Sends. Each bank of eight input channels provides a two-row LCD display that shows channel name, parameter names,
values and other data as appropriate for the current action. Additional input parameters are controlled by selecting one or more
channels to make them the target of the Selected Channel sections.
Clip and Safe LEDs
Bus Assign LEDs
Meters

Encoders and LEDs

Encoder Switches

LCD Display
Select
Solo
Mute

FX Returns

Banks A/B/C/D

Faders 18

GEQ

Figure 11. Input controls (Input Channels 18 shown)

Clip and Safe LEDs

Safe LED

At the top of each input strip are the Hidden Bank Clip and
Safe LEDs.

The Safe LED indicates either an input strips Automation,

Solo, or Bank safe status, depending on the current Input Safe
Switch setting. See Input Safe Switches on page 60.

Hidden Bank Clip LED

The Hidden Bank Clip LED lights to indicate a meter clip on an

Input Channel or FX Return at the corresponding position in
an alternate bank of channels. It gives you an indication of extreme signal level in a currently hidden (off-bank) layer.
This indicator obeys the same clipping threshold display rules
as the Input Channel meters (as set in the Options > Interaction page).

20

VENUE SC48 Guide

Auto Safe Mode If the Safe LED is lit, the channel will not re-

spond to Snapshot-driven changes. If the LED is off, that

channel will respond to any applicable changes driven by
Snapshots (subject to the current Recall Safe settings, if any).
Solo Safe Mode If the Safe LED is flashing slowly, the channel
will not respond to solo commands (it will not be muted if another channels solo button is pressed). If the LED is off, that
channel will be silenced when soloing another channel.

Bank Safe Mode If the Safe LED is flashing rapidly, the chan-

nel remains in place on the top fader layer when a different

Bank (AD) is selected (it will be unlinked from console banking). If the LED is off, the channel follows banking.

Stereo LED

A single yellow LED indicates a stereo input channel. The stereo channel LED flashes if a 10 dB or greater offset is detected
between left and right inputs.

Bus Assigns LEDs

Color

Channel Status

These red LEDs indicate Mains bus (LR or C/M) assignment.

(none)

Mono

Yellow

Stereo

LR

C/M

Bus Assign indicator LEDs on an Input Channel

If the LR LED is lit, the input channel feeds the Left and
Right Main busses in either LR or LCR panning mode (regardless of the Stereo Pan LED status).

If the C/M LED is lit, the input channel feeds the C (center)
bus from the pan in LCR mode, or the M (mono) bus before
the pan. Stereo channels are summed to the mono bus.

Meters
Each Input Channel provides a Comp/Lim gain reduction meter and an input level meter, plus LEDs for EQ, Stereo and Gate
status.

Gate Status LED

A single bi-color LED shows the current Expander or Gate

status.

Input Encoders and Assignment Controls

Each input channel features one assignable input encoder that
can be assigned to control input gain, HPF corner frequency,
pan/balance/width, and sends (Auxes).
The Encoder Assignment switches, located to the left of the
row of encoders, determine the function of the encoders on
Input Channels. The LCD displays the current function (see
Input Channel LCD Displays on page 22).

Comp/Lim
Gain Reduction

Input Level
Encoders
EQ In/Out

Gate

LCD

Stereo
Input channel meters and LEDs

Comp Gain Reduction Meter

A 3-segment meter displays gain reduction for the channel

compressor/limiter.
Input Level Meter

A 6-segment meter displays input level and indicates clipping.

The top-most LED is bi-color and lights red to indicate clipping at any point in the channel.
For meter scales, see Channel Meters on page 113.
EQ Status LED

A single red LED indicates EQ In/Out status as shown in the

following table.
Color

EQ Status

(none)

Not in circuit

Red

In circuit

Encoder Assignment Switches

Input encoders, assignment switches, and LCD (inputs 18)

Rotary and Switch Functionality

VENUE rotary encoders are dual-function controls that provide rotary and switch functions. In addition to adjusting parameters by turning the encoder, you can toggle parameters
(such as taking the HPF in or out of circuit) by pressing the encoder knob.
Encoder LEDs

Two types of LEDs surround each encoder:

The LED ring around the encoder displays the relative position of its currently assigned parameter.
Below each encoder is an indicator LED, which indicates parameter status (in/out), default setting, or other conditions related to the current encoder function.

Chapter 3: VENUE SC48 Control Overview 21

Switches in the Encoder section assign each of the following

parameters to the Input encoders:
Gain

Gain assigns the encoders to control input gain according to

the range available for this input (head amp gain for analog inputs, digital gain for digital or line inputs). Pressing and holding the encoder initiates Gain Guess, in which a nominal input
gain level is automatically set based on the incoming signal.

Display
Source Switch

The Source switch in the Display section changes the Channel

Name display to show the source input that is feeding each
channel.

Input Channel LCD Displays

There are two Input Channel LCD displays, one each for
Inputs 18 and 916.

Pan

Pan assigns the encoders to control channel Pan if the channel

is mono, or stereo channel balance if the channel is stereo. The
indicator LED lights when the pan is at center.
HPF

Each LCD provides two rows of data with six characters per
row, per input channel. The upper and lower rows let you see
more than one type of channel data simultaneously, such as
channel name in the lower row and Aux Send levels in the upper row. Data display depends on the current encoder assignment.

HPF (High Pass Filter)

Input Encoder Assignments and Values

HPF assigns the encoders to control the HPF corner frequency. Pressing the encoder toggles the built-in HPF in and
out of circuit. If the LED is lit, the filter is in circuit.

The current encoder assignment, parameter or value is displayed in the top row of the input displays. There are two
states the top row can be in: Parameter Value mode and Parameter Name mode.

Send 12 to Send 1516

These switches let you select one of two Aux sends in odd/even
pairs (Send 12 through Send 1516).
With mono sends, the first press of the switch selects the
odd numbered send (1, 3, 5, or 7) and the second press selects
the even numbered send (2, 4, 6, or 8). The switch lights green
for the odd-numbered selection, or yellow for the even-numbered selection.

When necessary, the display abbreviates functions as shown

in the following table.
Table 1. Encoder Assignment Displays
Switch

Display

Gain

Input Gain

Pan

Input Pan
HPF Frequency

With stereo-linked sends, the first press of the switch controls level for the bus pair, and the second press controls pan
for the bus pair. The switch lights green for level control, or
yellow for pan control.

Send (n)

Aux (n) Level

Aux (n) Pan (stereo-linked sends only)
Variable Group (n) Level
Variable Group (n) Pan (stereo-linked sends only

Pressing an encoder toggles the send on or off. When the send

level is shown on the LED ring and the send is off, a single LED
lights. When the send is on, all LEDs light in a clockwise sequence from the lower left to the send level.

Flip to Faders

Aux (n) Level and Pan (stereo-linked sends

only)

Flip to Faders

When enabled, the current encoder parameter is mapped to

the faders. It can still be controlled from the encoder row, so
the channel fader mirrors the setting.
Using Flip to Faders, it is possible to control send level from
the faders, and pan on the encoders. For information, see
Chapter 11, Aux Sends and Variable Groups.

Select Switch
The Select switch on each channel is used to target the channel
in the Selected Channel and/or Flex Channel sections, and to
include the channel in Multi-Select and Multi-Assign functions.
A lit Select switch indicates the channel is selected. The name
of the currently selected channel is displayed in the Channel
Name display and in the Selected Channel display. When multiple channels are selected, the Channel Name display indicates which channel is the ACS target.
See Selecting and Targeting Channels on page 38.

22

VENUE SC48 Guide

Solo Switch

Fader Banking Controls

The Solo switch toggles the solo state of that channel. When
enabled, the Solo switch LED is lit. When the channel is in
Solo Safe mode, the Solo switch LED flashes. Channel Solo
latches on a momentary press, and automatically releases if
held for 2 seconds or more and released.

Bank AD Banks the Input strips. Up to four banks (A through

D) can be used to access up to 48 inputs from the 16 Input
fader strips. Bank A is channels 116, Bank B is channels
1732, and so on.

Mute Switch

strips 18.

The Mute switch mutes the channel at the (pre-fader) mute

point.

Input Faders and Banking

Each channel features a 100mm motorized, touch-sensitive
fader. The Options > Interaction screen lets you enable
touch-sensitive channel selection. When enabled, touching a
channel fader automatically selects that channel and makes it
the Selected Channel.

Bank AD

Faders
(18)

Global
Modifiers

FX Returns
18

GEQ
20630 Hz
80020kHz

Input fader banking and assignment switches

FX Returns Banks FX Return channels 18 to Input fader

Important input channels can be put in Bank Safe mode, to

keep them at the top layer of faders at all times (ignore input banking). For more information, see Bank Safe Mode
for Input Safe Switches on page 36.
GEQ (Graphic EQ) Banks bands of graphic EQ to the faders.
Graphic EQs can be used on outputs only. For more information, see Chapter 18, EQ.

Global Modifier Switches

To the left of the Bank AD switches are the global modifier
switches.

Global
Modifiers
Global modifiers

The faders can be moved even when they do not sense a

touch. This allows use of the faders while wearing gloves,
and also lets you throw a fader and have it stay where it
lands (not snap back to where it was last touched).

Multi-Select (Shift) Lets you select multiple channels, and lets

you select multiple items in lists.

Default (Alt) Lets you reset a parameter, section, or channel to

default values. This switch also enables certain modes such as

Show VCA Members mode.
Fine (Ctrl) Lets you adjust rotary encoders with greater resolution for finer control, or to select non-adjacent items in
lists.
User This switch lets you control any number of common
tasks using assignable events. See Chapter 23, Events.

For examples of these switches in use, see Global Modifier

Switches on page 31.

Chapter 3: VENUE SC48 Control Overview 23

Selected Channel Sections (ACS)

The Selected Chan (selected channel, or Assignable Channel
Sections) include the Inputs, Bus Assigns, and Channel Control sections, along with stereo channel meters, an LCD display, and dynamics meters.

The Stereo LED lights solid when a stereo input or output is

targeted. The Solo LED flashes any time a channel is in PFL,
AFL or Solo in Place mode.

Dynamics
Gain Reduction Meters

The meters in the Dynamics section provide dedicated metering for built-in and plug-in dynamics processors.
Inputs

Channel Control

Bus Assigns
The Bus Assigns switches are the primary routing controls for
the currently selected channel, letting you bus it directly to
the Mains (LR) bus or to any other mono or stereo group.

Bus Assigns
Dynamics
Gain Reduction
Meters

LR

Group 18

Selected Channel control and display sections

In addition, the Flex Channel provides a dedicated fader,

channel encoder, Select, Solo and Mute switches for the currently selected channel, with the ability to be unlinked from
input channel banking and selection (latch your most important input to the Flex Channel). For more information,
see Flex Channel on page 25.

C/Mono

Stereo Pan

Bus assign switches

Channel Control

Input

Gain, EQ, Dynamics, Plug-ins, Auxes

This section provides switches for channel phantom power,

input pad, polarity (phase), and Safe status.

+48V
Input Polarity

Channel Control is the center section panel for consistent

display and control of EQ, dynamics, and plug-in processing
and Auxes.

20 dB Pad
Safe

Encoders
Meters
Stereo

Solo
LCD Display
LCD

Selected Channel Input controls, meters and displays

Meters
Below the Inputs switches are two 10-segment Selected Channel meters, LEDS for Stereo and Solo state and a 6-character
LCD display.
The dual, 10-segment, bi-color LED meters indicate input
level and clip status for the currently targeted or Soloed channel.
For Selected Channel metering scale, see Selected Channel
Level Meters on page 114.

The 6-character Selected Channel display shows the name of

the currently selected channel. The Selected Channel display
temporarily reverts to a parameter display mode any time an
encoder is adjusted on the selected channel.
24

VENUE SC48 Guide

User

Input Plug-In EQ Comp/

Lim

Exp/
Gate

Aux Sends
1-8
9-16

Channel Control encoders, LCD and mode switches

For optimal mixing flexibility, you can assign up to 8 parameters as a custom User layout.

Flex Channel
The Flex Channel is a special fader strip that provides a dedicated fader, encoder, and LCD display along with channel Select, Solo and Mute switches for the currently selected channel. The Flex Channel can also be latched to any channel for
uninterrupted control of any vital channel.

To latch a channel to the Flex Channel from the console:

1 Select the input or output channel you want assigned to the
Flex Channel.
2 Press the Select/Latch switch on the Flex Channel. A dialog
appears on-screen asking you to confirm the assignment.

Double-press the Select/Latch switch to latch that channel

and clear the confirmation dialog in one action.

Encoder
3

Press the Flex Channel Select/Latch switch again (or click

Latch on-screen) to confirm the assignment. Click Cancel to

Select/Latch
Solo
Mute

cancel the assignment.

To latch the Flex Channel on-screen:
Right-click on the desired channel in the lower fader display
and choose Latch <channel>.

Fader
To return to Selected Channel mode, do one of the following:

Flex Channel

In its default Selected Channel mode the Flex Channel mirrors

the currently selected channel. The Flex Channel encoder follows the current Encoder Assignment mode (gain, pan, HPF,
or a send). The Flex Channel LCD shows the current channel
name.

Double-press the Flex Channel Select/Latch switch. The

(former) channel assigned to the Flex Channel becomes the selected channel in the ACS, and the Flex Channel reverts to Selected Channel mode.

or
Right-click the currently latched channel on-screen in the
lower fader display and choose Unlatch <channel>.

In the optional Flex Channel mode, the Flex Channel is latched

to the currently selected channel. Selecting a different channel
or changing fader banks will not change the assignment of the
Flex Channel, letting you keep constant control over your
most important signal. The Flex Channel LCD is red when
latched and green when not latched.

Chapter 3: VENUE SC48 Control Overview 25

Output Masters
The Output Masters section includes eight bankable output channel strips, each with a fader, encoder and channel switches. The
Mains fader provides master level control over the Mains (house) output.
Prev and Next Page

Output Encoders

Pan
Insert Mode
Next Plug-in

LCD Display

Multi-Assign/Show VCA Membe

Select

Select Mains

AFL

Mute Mains

Mute

Mains fader
Output Faders

Output bank switches

Figure 12. Input controls (Input Channels 18 shown)

Mains

Output Mute, AFL and Select Switches

Mains Fader

Above the faders are the Mute, AFL and Select switches.

The Mains fader provides a single level control for the current
Mains output.

Output Encoders and Display

Mains Select and Mute

The eight Output Encoders adjust Group bus pan to Mains,

Matrix input levels and pan, or plug-in parameters (when in
Inserts mode).

Above the Mains fader are Select and Mute switches for selecting and muting the current mains output, respectively.

Output Faders
The eight Output Faders control level for Aux 18, Aux 916,
Matrix busses, Group busses, and VCAs.
Output Fader Bank Switches

The Output faders and encoders are banked to the desired bus
using the Output Faders switches.
Aux 18 Assigns the Output Faders to Aux 18 levels.
Aux 916 Assigns the Output Faders to Aux 916 levels.
Matrixes Assigns the Output Faders to control Matrix mixer

output levels.
Groups Assigns the Output Faders to control Group levels.
VCAs Assigns the Output Faders to control VCAs.
26

VENUE SC48 Guide

The Output Masters LCD display is a two-row display that

shows 6 characters in each row, per output bus. The display
shows the name, parameter or value currently being controlled in the Output Masters section.
The Prev Page and Next Page switches light to indicate additional functions depending on the selected output or plug-in.
When lit, pressing either switch scrolls the Output Encoders.
The Inserts Mode switch puts the encoders in Inserts mode, in
which the Output encoders select and adjust plug-ins. The
Next Plug-in switch advances you to the next plug-in inserted
on the current channel.

Master and Global Controls

Global and master controls are located in sections with a dark
background, and include the Console Mode, Snapshots, Mute
Groups/Function, Monitoring and View Mode sections.

Mute Groups

Mute Groups let you quickly mute multiple channels at the

same time. You can create and recall up to eight Mute Groups
by assigning one or more channels to each Mute Group.
See Chapter 16, Muting and Mute Groups.

Console Mode

Function Switches

The Config Mode switch toggles the system between Config

and Show modes. See Config Mode and Show Mode on
page 30.

In Function mode, this section provides eight Main Function

switches. The default assignments for the first four Function
switches include Preview mode on/off (F1), Copy (F3) and
Paste (F4).
Function switches can be assigned to perform any number
of actions using the Events List. For more information, see
Chapter 23, Events.
Cancel

Console Mode

This switch cancels the current operation, such as Multi-Select or Multi-Assign modes.

Snapshots
The Snapshots section provides Store, Recall, Previous and
Next switches, along with a Select encoder.

Store

Recall

Select
Previous

View Modes
The View Mode switches (Options, Inputs, Outputs, Filing,
Snapshots, Patchbay, Plug-ins) display the corresponding
pages on-screen. Pressing a View Mode switch repeatedly cycles through the individual tabs of that page. For example,
pressing the Patchbay switch once displays the Patchbay page.
Pressing Patchbay again cycles through various tabs within
the Patchbay page.

Next

Snapshots

For more information, see Chapter 22, Snapshots.

Options
Inputs

Mute Groups/Function
Provides Mute Group assignment and selection in default
Mute Groups mode, or can be switched to provide eight Function switches (F keys) in Function mode. The global Cancel
switch is also located in this section.

Filing
Patchbay

Outputs
Snapshots
Plug-ins

Snapshots

Mute Groups/Function

Chapter 3: VENUE SC48 Control Overview 27

Monitoring
The Monitoring section provides a level encoder for the Headphone output (Monitor bus outputs).

Headphones

Mix to Monitors

Solo Clear
Monitoring

Monitor bus delay can be set on-screen in the Options > Busses page.

Meters
The Meter section includes the following:

Bus Output Meters

Metering

Main

Meters

Bus Output Meters 18

Eight Bus Output meters provide selectable metering of Output busses.

L CM R

The Mains meters provide constant level indication of the

house (Mains) output.
For more information, see Chapter 14, Metering.

28

VENUE SC48 Guide

Chapter 4: Basic Commands and Modes

Control Overview
Most VENUE features and controls that are used during a performance are available from both the console and on-screen.
Changes made on one are immediately reflected in the other,
letting you use almost any combination of console and screen
controls to mix.

Tool Tips

With the mouse or trackball, place the cursor over a screen

item to see a brief explanation in the banner display.

Cursor

The software screen is not required in order to mix a performance, as all essential mixing controls are provided on the
console. However, the screen is essential when setting up and
configuring the system before a performance.

Status bar showing Tool Tip

Software-Only Controls and Displays

Status Messages

Many configuration settings and options are only available

on-screen, including hardware configuration settings, busses,
plug-in installation, and system diagnostics. For more information, see System on page 53.

The banner display alerts you to certain operating conditions

such as Multi-Select and Multi-Assign modes.

Tool Tip

Software Screen Banner Display

The software screen provides a banner display in the lower left

corner. This display is provided to maintain line-of-sight mixing by showing the currently adjusted parameter (such as
fader level or compression threshold) as you make changes to
the parameter. The banner display also provides Tool Tip text
and status messages.

Banner display

Mode display

Banner display showing current state of the system

Console and Software Screen Linking

The software screen is linked to console actions by default. For

example, selecting an input channel on the console changes
the screen to the Inputs page, and selecting an output bus
changes the screen to the Outputs page. You can customize
how VENUE targets channels to best match your working
style. For more information, see Interaction on page 59.

Chapter 4: Basic Commands and Modes 29

Config Mode and Show Mode

System Lock

There are two main operating modes, Config mode and Show
mode. Use Config mode to set up your system and options; use
Show mode to mix your performance.

System Lock locks out all manual changes (console and screen
actions), allowing the operator to safely step away from the
system. Audio continues to pass but is not affected by console
controls until the operator disables System Lock.

Config Mode

Config mode provides access to the configuration settings that

are typically performed as part of system setup (before mixing). For example, you must be in Config mode to do any of the
following:

System Lock is activated by clicking the LOCK button on the

Options > System page, which locks the console and hides the
on-screen controls. (System Lock is not available in the Standalone software.)

Choose a Main mix format (LR+M, or LCR)

Designate the number and mono/stereo format of available auxes and groups, combine two mono channels into
one stereo input channel, or split a stereo input channel
into two mono channels.
Install plug-ins

System Lock button on the Options > System page

Locking and Unlocking the System

Assign plug-ins in the software racks

To engage System Lock:

Route side-chain inputs to plug-ins

Go to the Option > Systems page.

Initialize (or reset) hardware devices and options

Click the Lock button in the System section.

In the dialog that appears, click Lock.

Change Matrix Source pickoff points

Change Master Insert points
Customize console and software interaction
Move channels to different fader strips
Perform system tests and diagnostics

On the console, the LCDs for each 8-channel fader bank display System Locked.
On-screen, an Unlock button appears in the lower right corner
in front of a dimmed background image.

Some Config mode operations interrupt audio throughput.

You can add your own custom images to display in place of
the default VENUE logo. See Customizing the System Lock
Display on page 31 for information.

Show Mode

Show mode is the main operating mode for the system software. All mixing and routing features are available, based on
your settings made in Config mode.

To unlock the system (disengage System Lock):

Do either of the following:

Toggling Between Config Mode and

Show Mode

Press and hold the Cancel button on the console for two
seconds.

To toggle between Config mode and Show mode, do one of the

following:

Click Unlock in the lower right corner of the screen.

Press the Console Mode switch (located above the Bus Assigns).

or
Double-click the Mode display in the Status Bar, located in
lower-right hand corner of the screen.

or

the Unlock button is hidden after a few seconds. Touch the

mouse or keyboard to bring it back.

System Status while Locked

GPI All console 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 that include console or

GPI/Footswitch functions are disabled while the system is

locked.

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VENUE SC48 Guide

MIDI and MTC

While the system is locked:

Snapshots continue to be recalled via MTC, either internally or externally generated.

Global Modifier Switches

VENUE SC48 provides a set of global modifier switches:
Multi-Select (Shift), Default (Alt), Fine (Ctrl) and User. These
are located to the left of the input faders

The system continues to respond to snapshot changes via

incoming MIDI program change commands if the Snapshots Respond option is selected on the Options > Snapshots page.

Multi-Select

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.

Default

The system continues to send MIDI messages stored

within snapshots, provided the MIDI data type is scoped.

User

MTC can be disabled using the CHASE MTC 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.
Customizing the System Lock Display

You can manually add one or more custom images to display

during System Lock, rather than the default VENUE logo
background.
Multiple images are displayed one after the other for 20 seconds in a random order. (Pressing the Spacebar advances to
the next image immediately.)
To install custom System Lock images:
1 Copy a .bmp or .jpg image file to a USB key disk or CD-ROM.
(For optimal results image resolution should be 1024 x 768;
smaller or larger images can be used, but will be centered or
scaled, respectively.)
2

Put the system into Config mode.

Go to the Options > System page.

Ctrl-click the Shutdown button.

Copy the image from your USB key disk to the following location on the system drive:
User Data\D-Show\Images

Double-click the Return to VENUE software icon on the Desktop to restart VENUE software.

Fine

Global modifiers

These switches provide frequently used shortcuts that can be

applied to console actions and software screen interactions.

Multi-Select Switch
The Multi-Select (Shift) switch lets you select multiple Input
Channels and then apply an action to all selected channels.
Multi-Select is useful for batch routing and assignment of input channels.
Most channel functions support Multi-Select (or Multi-Assign) as noted throughout this guide. For details on how to select one or more channels, see Selecting and Targeting Channels on page 38.

Default Switch
The Default (Alt) switch provides a quick way to reset a control to its default setting (or zero the setting). It is equivalent to, and interchangeable with, the Alt key on the keyboard.
Examples of Using Default
To reset a fader to 0 dB:
1

Press and hold the Default switch.

Press the Select switch on the channel you want to reset.

To reset a single EQ parameter:

Hold the Default switch and press the encoder or switch for
that parameter in the Channel Control section.

To reset a parameter using only the keyboard and trackball,

Alt-click the on-screen control.

Chapter 4: Basic Commands and Modes 31

Fine Switch
The Fine (Ctrl) switch 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.

Software Screen Pages and Tabs

Viewing Pages
To view a page, do one of the following:

or

To adjust a control with fine resolution:

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

Momentary and Latching Modes

Press a View Mode switch.

Click the page name at the top of the screen.

When additional tabs are available for a page, go to those tabs

by pressing the corresponding View Mode switch again to
cycle through the tabs on that page, or by clicking their names
on-screen.

The Fine switch supports momentary and latching operation.

Momentary In momentary mode, the Fine switch stays in ef-

Click page name to display

fect for as long as you hold down that modifier switch.

Latching In latching mode, the Fine switch stays in effect until
you explicitly clear its active state.
To use the Fine switch in Momentary mode:
1

Press and hold the Fine switch.

Adjust a channel, parameter, or processor.

Release the Fine switch.

To use the Fine switch in latching mode:

1

Double-press the Fine switch. The switch LED lights.

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

Press the Fine switch again to exit latching mode.

User Switch
You can assign any number of common tasks, such as tap
tempo or recalling a Snapshot or a Mute Group, to the User
switch using events.
See Chapter 23, Events.

32

VENUE SC48 Guide

Viewing pages

Overview of Software Pages

Filing

The software screen provides the following pages and tabs.

Load, save, and transfer shows and presets, and access the
console History.

Inputs

Select, name, configure, and adjust parameters for input channels and FX Returns.

Filing (Load tab)

See Chapter 21, Shows and File Management.

Inputs page (analog input shown)

Double-press any input channel Select switch on the console to quickly return to the Inputs page, regardless of
which page was previously displayed.

Snapshots

Store and recall snapshots, and access the Recall Safe window.

See Chapter 8, Inputs and Input Routing.

Outputs

Select, name, configure, and adjust parameters for outputs.

Snapshots page

See Chapter 22, Snapshots.

Outputs page

See Chapter 9, Outputs and Output Routing.

Chapter 4: Basic Commands and Modes 33

Patchbay

Options

Label your channels and assign input and output patching.

Configure system, routing and metering options, set interaction, hardware and general preferences, install plug-ins, and
access the Events window.

Patchbay (Outputs tab)

See Chapter 13, Patchbay.

Plug-Ins

Configure and arrange plug-in racks by assigning plug-ins;

patch/route and manage plug-ins.

Plug-In page

See Chapter 19, Plug-Ins.

34

VENUE SC48 Guide

Options page (System tab)

See Chapter 7, Options.

Chapter 5: Navigating and Selecting Channels

Banking Input Channels and FX

Returns
Many VENUE configurations utilize more physical inputs
than input faders. To navigate to channels beyond the number
of physical faders, the system provides channel banking controls.
The Bank switches navigate the display of input channels on
the console.
Input channel banks are accessed using the Bank A, B, C,
and D switches, located to the left of the input faders.
FX Returns are accessed using the FX Returns 18
switches, located between input faders 18 and 916.
Input Channels and FX Returns can be put in Bank Safe
mode, leaving them accessible regardless of the currently
selected bank.

FX Returns Banking
The FX Returns 18 switch banks FX Return channels to input
faders 18.
When the FX Return bank is selected, input faders 916 remain banked on their current input channels. The Input bank
button flashes to indicate which bank is currently assigned to
these channels.
To bank FX Returns:

The FX Returns are banked to the input faders. Bank switch A,

B, C or D flashes in order to indicate the current bank assignment of other input faders.
To bank Input Channels while keeping FX Return channels on the
input faders:

Input Channel Banking

The Bank A, B, C and D switches affect all input faders.
FX Returns
18

Press the FX Returns 18 switch.

Press any unlit Bank switch (A, B, C, D).

To return input faders to Input Channel banking, do one of the

following:

Press the lit FX Returns 18 switch.

or

Press the flashing Bank switch (A, B, C, D).

Banking Graphic EQ Frequency Bands

When a built-in Graphic EQ is inserted on a currently targeted

output or bus, its frequency bands can be selected using the
Graphic EQ switches. This replaces Inputs 116 with either
bank of EQ bands shown for each Graphic EQ bank switch
(20-630 Hz, 800-20 kHz).
See Graphic EQ for Outputs on page 146.
Bank AD

GEQ
20630 Hz
80020kHz

Input fader banking and assignment switches

To bank Input Channels to the input faders:

Press the appropriate Bank switch (A, B, C, or D).

Chapter 5: Navigating and Selecting Channels 35

Bank Safe Mode for Input Safe Switches

Bank Safe mode is a global Input Safe switch option available
in the Option > Interaction page.
When Bank Safe mode is enabled, input channels and FX Returns can be Bank Safed using their Input Safe switches on the
console, or on-screen. Bank Safed channels remain on the top
fader layer of the console regardless of the current active
bank, letting you temporarily lock the location of key input
channels (such as a lead vocal, pulpit mics and similar) or
FX returns to maintain immediate access while working with
channels on a different layer.

Choices for Input Safe Switches in the Options > Interaction page

On-screen, the Safe switches at the top of each fader display

the letter B to indicate Bank Safe mode. (See On-Screen Display of Safe Switch Status on page 37.)

For example, imagine 16 total input channels assigned to four

banks (A through D) of an imaginary 4-fader console.
Default channel layout for a 4-fader example
Bank

In the Input Safe Switches section, click to enable Act as

Bank Safes.

You can also use the Event List to configure the Safe mode.
For more information, see Chapter 23, Events.
Using Bank Safe

Fader 1

Fader 2

Fader 3

Fader 4

Ch 1

Ch 2

Ch 3

Ch 4

Ch 5

Ch 6

Ch 7

Ch 8

Make sure you have enabled Bank Safe mode for the Input
Safe switches.

Ch 9

Ch 10

Ch 11

Ch 12

Ch 13

Ch 14

Ch 15

Ch 16

3 Press the Safe switch in the Inputs area of the Selected Channel section.

To Bank Safe channels:

1

Select one or more input channels.

Channel 6 on Bank B is then Bank Safed. Selecting the various

banks gives the following results:
Channel layout with Bank Safe enabled on channel 6
Bank

Fader 1

Fader 2

Fader 3

Fader 4

Ch 1

Ch 6

Ch 3

Ch 4

Selected Channel, Input Safe switch

Ch 5

Ch 6

Ch 7

Ch 8

Ch 9

Ch 6

Ch 11

Ch 12

Ch 13

Ch 6

Ch 15

Ch 16

Note that channels 2, 10, and 14 no longer appear on the console (though they remain accessible on-screen).
When an input channel or FX Return is removed from Bank
Safe, the input channel that would normally appear in that
fader location on the currently selected bank automatically
re-appears.
Bank Safe is only available for Input channels (Output channels cannot be Bank Safed). Bank Safe status for all channels is
stored with the Show file.

Safe switch

Press a Bank switch (A, B, C or D) to navigate to a different

bank. Notice that the channel you Bank Safed remains; corresponding channels on other banks, though not present on the
console, are still accessible on-screen.

Toggling Bank Safe On-Screen

To Bank Safe channels on-screen:

Make sure you have enabled Bank Safe mode for the Input
Safe switches.

2 Click the channel Safe buttons on-screen, located at the top

of each input channel strip.

Safe buttons

Enabling and Using Bank Safe Mode

Bank Safe mode can be enabled on-screen from the Options >
Interaction page.
To enable Bank Safe mode on-screen:
1

Go to the Options > Interaction page.

Toggling Bank Safe on-screen

36

VENUE SC48 Guide

Safe Switch LED and Indication

Priority for Replacing Bank Safe Assignments

On VENUE SC48, the Safe LED at the top of each input strip
flashes rapidly to indicate Bank Safe is enabled on that channel.

The following rules apply to resolve any potential collisions

between Bank Safed channel assignments:

Safe LED

Input channels always replace any FX Returns that are

Bank Safed in that corresponding fader position.
A lower numbered input channel always replaces a higher
numbered input channel in that corresponding fader position.
In addition:

Channel Safe LED on VENUE SC48

When a Bank Safed channel is targeted, the Safe switch in the

Input section also flashes rapidly.

Make Stereo The Bank Safe status of the left channel is inherited by the newly created stereo channel.
Split Stereo The Bank Safe status of the stereo channel is applied to each of the newly created mono channels.

On-Screen Display of Safe Switch Status

The channel Safe switches at the top of each strip of the

on-screen faders light to indicate the current Safe status of
each channel. When lit, that channel is enabled for the current
Input Safe Switch mode (Automation, Solo, or Bank Safe).
Each on-screen Safe switch indicates the current Input Safe
Switch mode through use of a letter in the lit switch. For example, on-screen Safe switches show the letter B if Bank Safe
mode is enabled and the channel is Bank Safed.

Bank Safe (two channels enabled)

Special Cases Affecting Bank Safe

Special rules and conditions are automatically applied to Bank

Safe status whenever you do the following:
Bank to GEQ faders
Move channels or shuffle channel layout

Bank Safe and Backup Personality

Channel Bank Safe remains in effect and available if Bank Safe

mode is engaged. This ensures consistent and uninterrupted
fader control during the rare case of a system reset.
Modified Bank Safe functionality is available while the Backup
Personality is active. Specifically:
Input Channel layout does not unexpectedly change when
the backup personality is activated or de-activated.
Input Channel Safe LEDs automatically revert to displaying Bank Safe status.
The Safe switch in the Selected Channel Inputs section
flashes rapidly if one or more channels are Bank Safed.
Pressing the flashing Inputs Safe switch clears the Bank
Safe status of all safed channels. Bank Safe status is not restored upon resuming normal operation, nor can it be
re-enabled for any channel while the Backup Personality
is active.

Change the system configuration

GEQ Fader Mode

Selecting a GEQ fader bank overrides Bank Safe. Returning to

any fader bank (thus exiting GEQ Fader mode) restores the
previous input layout, including Bank Safe status. This applies
to channels 116 on VENUE SC48.
Moving or Shuffling Channels

Bank Safed channels shuffle accordingly when any operation

is performed that results in a re-ordering of input channels,
including the following:

You cannot change the current Input Safe Switch mode while
the Backup Personality is active.
After Resuming Normal Operation

Any changes to Bank Safe status made while the Backup Personality is active will persist when normal operation resumes.
You can continue working uninterrupted knowing Bank Safe
status will not be reset to its state prior to when the Backup
Personality was activated.

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 SC48.

Chapter 5: Navigating and Selecting Channels 37

Multi-Select (Shift)

Banking the Output Section

Outputs are controlled using the Output faders and Encoders.

Multi-Select lets you select multiple channels in order to apply

an action to them in one step.

The Mains fader provides constant access to the house output

(Mains) bus, and does not follow Output fader banking.

To select multiple channels from the console:

Press and hold the Multi-Select switch (located next to the

input Bank switches). The switch flashes to indicate MultiSelect mode.

To bank Auxes, Matrix, Groups, or VCAs to the Output faders:

Press the corresponding switch in the Output Faders section.

Press Select on each channel you want to include in the selection.

Release the Multi-Select switch.

Perform a routing assignment or other function (for example, press a Bus Assign switch on one of the included channels). The operation is applied to all selected channels.

Select

You can use the Shift key on the keyboard or the Multi-Select (Shift) switch to select multiple channels.
Press to
assign faders

To exit Multi-Select mode, do one of the following:

Press the Multi-Select switch.

or

Bank switches for Output channels

Selecting and Targeting Channels

Each VENUE channel strip has a channel Select switch. The
Select switch targets that channel for routing or processing assignment. When a single channel is selected it becomes the
targeted channel, which can be adjusted from the console or
on-screen. Channels can also be selected by clicking their
fader strips on-screen.
To select a channel, do one of the following:

Press the Select switch on the console channel strip.

Press Cancel.
or

Press the Select switch on a channel that is currently not selected.

To select multiple channels on-screen:

Press and hold the Multi-Select switch (or hold Shift on the
keyboard) and click the fader strips on-screen.

To select an 8-channel bank on-screen:

Click the bank name below the on-screen fader strips.
Shift-click to select additional banks or channels.

or
Click anywhere in the on-screen channel fader strip, except
on the fader, mute, solo or safe buttons.

Click to select
banks of 8

Clicking a bank display to select multiple channels on-screen

Click to select channel

To select all input channels or all output channels on-screen:

Double-click any bank name below the on-screen fader
strips in the Input or Outputs screen.

Clicking on-screen to select a channel

To remove a channel from a selection:

Control-click (or Fine-click) a highlighted channel.

See Screen Controls on page 40 for additional on-screen
features.

38

VENUE SC48 Guide

Multi-Assign

Type Text Search

The Multi-Assign switch in the Output section is used to route

multiple channels to the selected output bus.

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 ACS. (See
also Selecting and Targeting Channels on page 38.)

To assign one or more channels to an Aux, Group, or VCA:

Press one of the following switches in the Output Fader assignment section:

Aux 18
Aux 916
Groups
VCAs
Press the Multi-Assign switch near the Output encoders. The
flashing Multi-Assign switch and the banner display at the
lower left of the screen indicate Multi-Assign mode is enabled.

Press the Select switches on the channels you want to assign

to the Aux, Group, or VCA.

To search for and select a channel by name:

1

Go to the Inputs, Outputs, or Patchbay page.

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).

Press the Tab key to cycle through and select any other channels beginning with that letter (such as Snare Top, Snare Bottom, or Strings).
3

Select any other output to confirm the previous assignment

and proceed to assigning channels to the new selection. To
confirm the assignment and exit Multi-Assign mode, press the
flashing Multi-Assign switch.
4

To cancel the assignment do either of the following:

Press the Cancel switch (in the Mute Groups/Function
section), or press the ESC key on your keyboard.
or
Click Cancel in the on-screen Multi-Assign dialog box.
See Chapter 9, Outputs and Output Routing.

To search for and select a list item by name (or number):

1 Go to the Snapshots, Events or Filing page. Or, click to open
any 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 to cycle through and select any other items
that begin with the same letters.

Channel Numbers and Names

VENUE SC48 channel numbers are absolute channel numbers. Renaming changes the displayed name associated with
each channel, 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.

Type Text search can also be used to select snapshots and

events.

Targeting Plug-In Inserts

Selecting a single channel targets that channel in the ACS.
This lets you enable Inserts Mode to use the Output encoders
to adjust plug-ins inserted on that channel.
For more information, see See Chapter 19, Plug-Ins.

Chapter 5: Navigating and Selecting Channels 39

Screen Controls
Adjusting On-Screen Faders

Adjusting On-Screen Encoders

You can adjust on-screen rotary encoders by dragging directly
over the on-screen knob.

You can move on-screen faders independently or in ganged

fashion.

To adjust an on-screen rotary encoder:

To adjust a single fader on-screen, do one of the following:

Drag a fader in the on-screen channel strip section at the

bottom of the screen.

Click on the knob so that it is highlighted.

Drag up to turn the encoder clockwise; drag down to turn the

encoder counter-clockwise.

or
Select a channel and move its fader in the on-screen selected
channel controls.

Dragging over an encoder on-screen

Adjusting Values On-Screen

Fader in
selected channel
section
Fader in
channel strip section

In addition to typing numeric values in text boxes, you can adjust parameter values and numeric option settings on-screen
by dragging directly over the corresponding text box.
To adjust a value on-screen by dragging:
1

Click in the text box to select the value.

Drag up to increase the value; drag down to decrease the

value.

Dragging a fader on-screen

To move multiple faders on-screen in ganged fashion:
1

Select multiple channels on-screen by Shift-clicking.

Move the fader on one of the selected 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 +12 dB).

Selected
channels
Dragging multiple faders on-screen

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VENUE SC48 Guide

Adjusting a parameter value by dragging over its text box

Screen Shortcuts

To copy and paste channel settings on-screen:

1

The on-screen Fader display provides the following right-click

shortcuts.

Do one of the following:

Right-click on a channel fader in the fader display across
the lower half of the screen and choose Copy.
or
Right-click within the upper channel display and choose
Copy.

Copying channel settings

Right-clicking a fader on-screen

You do not need to select the channel before copying its settings on-screen.

See also Fader and Encoder Shortcuts on page 44.

Reset Fader to 0
Resets the fader position to zero.

2 Select one or more destination channels. You can only paste

to selected channels.

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 Paste operation.

Reset Selected Input Strips

Resets every parameter on the selected channel(s) to default
settings.

Copy and Paste Channel

Channel settings can be copied in their entirety from one
channel and pasted to one or more channels from the console
or on-screen.
You can also store and load settings as Input Channel Presets. For information, see Input Channel Presets on
page 44.

By default, Function switches 3 and 4 (F3 and F4) are programmed for Copy and Paste, respectively.
Using the Events List, Copy and Paste can be assigned to any
trigger. For more information, see Chapter 23, Events.
To copy and paste channel settings from the console:
1

Press the Select switch on the channel you want to copy.

Press F3 to copy.

3 Press the Select switch on one or more destination channels

(the channel or channels to which you want to paste the copied
settings).

Press F4 to paste. The status displays shows a message confirming the Paste 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, PQ,
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.

Chapter 5: Navigating and Selecting Channels 41

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 channels 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, Matrix or PQ).
To copy GEQ settings, use the copy/paste GEQ shortcut or
use GEQ Presets. Use the Replace with Mix (members) From
command to replace output membership for an Aux, Group,
VCA, Matrix or PQ.

Make Selected Mono Strips Stereo/Make

Selected Stereo Strip Mono
Combines two selected mono channels into a single stereo
channel, or splits a selected stereo channel into two mono
channels. VENUE must be in Config mode to change the stereo
status of a channel.

Move Selected Strip

Input channels can be reordered using drag and drop. See

See Reordering Input Channels Using Drag and Drop
on page 66.

Insert Blank Strip

The Insert Blank Strip command lets you insert one or more
blank (or spacer) strips anywhere among your input channels. In addition, 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
processing 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 remain available during Backup Personality
mode.
Blank Strips on the Console

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

Blank strips appear as a simple gray strip with no fader, buttons or meter. A blank strip can be right-clicked to reveal its
context menu.

Moves a selected strip from its current position to a new location. When you move a channel strip, other channels are
moved (and renumbered) lower or higher to accommodate the
moved channel.
VENUE must be in Config mode to move channel strips.
To move a fader strip:
1

Put the system in Config mode.

Select the channel you want to move.

On-screen, right-click on the destination strip (where you

want to move the selected channel).

Blank Strip

Choose Move Selected Strip Here from the pop-up menu.

Blank strip in position 16, Right-click menu shown

Snapshots cannot store and recall custom console channel

positions.

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VENUE SC48 Guide

Adding Blank Strips

Blank strips can be inserted manually, and are also created automatically when you use the Make Stereo command.

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.

Manually Inserting Blank Strips

Config mode must be enabled to add or remove blanks strips.

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.

To manually add a blank strip:

1

Enable Config mode.

2 Right-click an input channel 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,
right-click on channel 16.

You can also select a blank strip and choose Insert Blank Strip
to insert multiple blank strips.
All channels to the right of the insertion point (including the
right-clicked channel) are shuffled one position to the right.
This command will be unavailable if the combined number
of input channel strips plus blank strips equals or exceeds
96. For more information, see Limits and Guidelines for
Blank Strips on page 43.
To insert multiple blank strips:
1

Enable Config mode.

Create a multi-selection of channels.

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-selection.
Automatically Inserting Blank Strips using Make 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 contributing mono channels.

Removing Blank Strips

Blank strips can be removed manually.

Manually Removing Blank Strips
To remove a blank strip:

Right-click the blank strip you wish to remove and choose

Remove Blank Strip.

To remove all blank strips:

Right-click any blank strip and choose Remove All Blank

Strips.

Blank strips are removed and all channels to the right are
shuffled one position to the left.
Limits and Guidelines for Blank Strips

The maximum number of fader strips is 96. These 96 positions

can be comprised of any combination of mono or stereo input
channels, as well as blank strips. (FX Returns are considered
separate and are not included in this count.)
The maximum number of blank strips that can be used varies
depending on the current system configuration and the number of stereo channels used in the configuration. This number
can be calculated as:
(96 the number of input channels in System Configuration)
+ Number of stereo channels
For example:

Make Stereo A blank strip is automatically inserted at the lo-

A 96 channel configuration with 96 mono channels can

have 0 blank strips.

cation 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.

A 48 channel configuration with 48 mono channels can

have 48 blank strips.
A 48 channel configuration with 4 stereo channels can
have 52 blank strips (52 = 96 48 + 4).

Chapter 5: Navigating and Selecting Channels 43

Fader and Encoder Shortcuts

Selecting a channel preset automatically loads the saved

settings into the selected 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.

The on-screen channel faders and encoders provide the following right-click shortcuts to reset individual parameters
and channel strips.

To store a channel as an Input Channel Preset:

1

Right-clicking channel strip controls on-screen

Configure an Input Channel as desired.

2 Click the Channel Presets icon (the folder icon located to the
right of the Channel Routing indicator and +/ buttons).

Reset Parameter
To reset an on-screen fader or encoder to its default value, do one
of the following:

Channel Presets

Right-click the control and choose Reset.

or

Channel Presets icon in the Inputs page

Alt-click the control.

Reset Channel

Specify a folder in which to save the preset, if the currently

selected folder is not appropriate, by clicking the Folder selector and selecting a different folder.

To reset an entire channel strip to its default settings:

Click New.

Right-click the on-screen channel fader and choose Reset

Strip.

Folders

Channel Control

Channel Control provides a unified set of controls for input,

EQ and dynamics processing (or equivalent plug-ins), and
Aux Sends. You can also create a custom User assignment that
includes any eight parameters.
To assign a compatible parameter to a Channel Control encoder:
Right-click the on-screen channel fader and choose an encoder from the Channel Control sub-menu.

Input Channel Presets window

To preview and recall a saved Channel Preset:

For more information, see Chapter 6, Channel Control.

Input Channel Presets

Input channel configurations can be stored and recalled as Input Channel Presets. Input Channel Presets can be previewed,
recalled and transferred just like other VENUE 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.

1 Navigate to the Inputs page for the desired channel. Channel

Presets can only be loaded into a single channel at a time.
2

Click the Channel Presets icon.

If necessary, click the Folders icon and select the appropriate

Channel Presets folder from the pop-up menu.

Do any of the following:

To preview an existing Channel Preset, click its name in
the Channel Presets window.
To load the currently selected Channel Preset, press Enter
or click the Close box (X) in the Channel Presets window
title bar.
To cancel without changing settings, click Cancel.

To rename, duplicate, overwrite or delete a Channel Preset:

Right-click the preset name in the Channel Preset window
and choose Rename, Duplicate, Delete, or Overwrite.

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VENUE SC48 Guide

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 and Stereo Channel Presets

You can load mono Channel Presets into stereo channels, and
stereo Channel Presets into mono channels.
Loading Mono to Stereo 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.
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.
Channel Compatibility

When storing and loading Input Channel presets, remember

the following:
Group bus assignments are not applied if the settings in the
preset do not match the current console Bus Configuration
Aux send level or pan settings for individual aux pairs are
not applied if the stored stereo link/unlink state does not
match the current link/unlink state. For example, assume the
stored preset has Aux 12 linked, but the current console configuration has these Auxes unlinked. 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.

Transferring Input Channel Presets

Input Channel Presets are available as Built-In Presets in the

Transfer tab of the Filing page. This lets you transfer your
Channel Presets to a USB key disk or other storage device for
backup and transfer to other systems.
Input Channel Presets are supported on all systems running
VENUE software 2.5 or later, including the Standalone software.
For more information, see Chapter 21, Shows and File
Management.

Chapter 5: Navigating and Selecting Channels 45

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VENUE SC48 Guide

Chapter 6: Channel Control

Channel Controls eight encoders and LCD displays are used

to control different functions such as Input, EQ, Comp/Lim,
Exp/Gate, Aux Sends 1-8, and Aux Sends 9-16. Channel Control also lets you create a custom User set of controls for immediate access to any eight parameters.
Encoders
1

Using Channel Control

Using Channel Control is as simple as selecting one or more
channels and choosing a Channel Control function to adjust
the desired parameters.
To start using Channel Control:

Select one or more channels.

Press a Channel Control function switch.

The Channel Control LCD identifies the parameter now

mapped to each encoder. On-screen, a matching color background indicates the currently active Channel Control function.

Adjust Parameters
To adjust parameters in Channel Control:
Press an encoder to toggle its parameter on/off (such as
turning an Aux send on/off ).

Function switches
In switch for EQ and Dynamics

Channel Control encoders 1-8 and Function switches

Channel Control operations for inputs, EQ and dynamics processing, plug-ins, and Aux Sends are detailed in the relevant
sections of this guide. The rest of this chapter shows you the
basics of Channel Control, as well as how to create and manage
the custom User assignment.

Rotate an encoder to adjust its current parameter (such as

input gain, or comp/lim threshold).

To bypass a selected processor (toggle in/out):

Press the In switch in the Channel Control section to toggle
the module in or out. When lit, the module is in/engaged;
when unlit, the module is out/bypassed.

To adjust a different type of parameter:

Press a different Channel Control Function switch.

Chapter 6: Channel Control 47

Encoders, Display and Modifiers with

Channel Control
Rotary and Switch Encoders

The encoders in the Channel Control section are dual-function rotary/switch controls. For example, when Auxes are in
Channel Control, pushing an encoder toggles that send on/off;
rotating the encoder adjusts send level.

LCD Displays

Each encoder has an associated LCD display that is

2 rows/6 characters per row. LCDs for each encoder show the
current parameter name in the upper row (long parameter
names will wrap down to the lower row of each LCD). Parameter values are shown below the parameter name whenever an
encoder is being adjusted.
The LCD display mode can be changed to show all parameter
values all the time.

Color

Each function uses a unique color in its switch LED that is also
shown on-screen to identify the currently assigned parameters. For example, when Channel Control is in EQ mode, the
on-screen EQ section for the selected channel will have a green
background.

To toggle Channel Control LCDs between temporary and

persistent parameter value display:
1

Press and hold the Default (Alt) switch.

Press a Function switch in the Channel Control section.

Color background

Functions
The Channel Control function switches provide consistent,
preconfigured mappings for fast and familiar access to input,
EQ, dynamics, and Aux send parameters.

Input
Channel Control lets you adjust input gain, right offset, HPF,
pan, balance/width, delay, and direct outs.
To access Input parameters in Channel Control:

On-screen color indication of Channel Control function

Function switches and background colors for Channel Control

are listed in the following table.
Channel Control Functions and Color

48

Function

Color

Input

white

EQ

green

Comp/Lim

blue

Exp/Gate

yellow

Aux Sends 1-8

pink

Aux Sends 9-16

turquoise (blue/green)

VENUE SC48 Guide

Select one or more channels.

Press the Input switch in the Channel Control section.

The following tables list Input parameter mapping for mono

and stereo channels in Channel Control.

Mono Input Parameters in Channel Control

Mono Input Channel Parameters in Channel Control
1
Rotate
Push
(Indicator
LED)

Gain

HPF
frequency

Pan

Delay

Direct Out
level

Guess
(green)

In (green)
Out (off)

Center
(green)

In (green)
Out (off)

In (green)
Out (off)

Stereo Input Parameters in Channel Control

Stereo Input Channel or FX Return Parameters in Channel Control

Rotate
Push
(Indicator
LED)

Gain

Right Offset

HPF
frequency

Balance

Width

Delay

Direct Out
level

In (green)
Out (off)

Center
(green)

Stereo
(green)

In (green)
Out (off)

In (green)
Out (off)

Guess
(green)

For more information about input channels, see Chapter 8,

Inputs and Input Routing.

EQ
To access EQ parameters in Channel Control:
1

Select one or more channels.

Press the EQ switch in Channel Control.

Press the In switch to toggle the band in or out (a lit In

switch indicates the EQ is in circuit).

For complete information on using EQ, see Chapter 18, EQ.

Comp/Lim
To access compressor/limiter parameters in Channel Control:
1 Select one or more channels. (Built-in dynamics processing
is available on Input Channels and FX Returns only).

Press the Comp/Lim switch. The Comp/Lim switch LED lights

blue when engaged.
2

For more information, see Chapter 17, Dynamics.

Exp/Gate

Plug-ins
The Channel Control Plug-In switch is available for EQ,
Comp/Lim and Exp/Gate functions only. Use it to toggle between controlling built-in processing or a like (equivalent)
plug-in inserted on the channel. Plug-ins use the same control
mapping and text labels as their corresponding built-in functions. Plug-in parameters that dont map to Channel Control
will not be available.
The Plug-in switch LED is only lit and active when a controllable plug-in is already inserted and banked to Channel Control. The In button toggles the bypass state of the plug-in; all
other parameters are adjusted identically to the built-in EQ,
compressor/limiter, or expander/gate.
For more information, see Chapter 19, Plug-Ins.

Aux Sends 1-8 and Aux Sends 9-16

To access Auxes in Channel Control:
1

Select one or more channels.

2 Press the Aux Sends 1-8 or Aux Sends 9-16 switch in Channel
Control.

For more information, see Chapter 11, Aux Sends and

Variable Groups.

To access expander/gate parameters in Channel Control:

1 Select one or more channels. (Built-in dynamics processing
is available on Input Channels and FX Returns only).
2 Press the Exp/Gate switch. The Exp/Gate switch LED lights
yellow when engaged.

For more information, see Chapter 17, Dynamics.

Chapter 6: Channel Control 49

Creating a Custom User Assignment

User Assignment
User mode lets you mix and match parameters from different
function types and save it as the single Channel Control User
assignment.
The User assignment is stored with each Show file. A default
(factory) User assignment is provided to get you started
quickly.

To assign Channel Control encoders to parameters:

Double-press the Channel Control User switch to enter User

Assign mode.

Press a Channel Control encoder (1-8) to select it for assignment.

Select one or more channels.

3 On-screen, click to select the parameter you want mapped to

the selected Channel Control encoder. Continue clicking other
parameters. Each click assigns that parameter to the next sequential Channel Control encoder, up to 8.

Press the User button in the Channel Control section.

Press the flashing In switch in the Channel Control section.

To load the Default User assignment:

Press the flashing User switch to exit Assign mode and store
your assignments.

The factory Default User assignment is preconfigured to bring

the following parameters to the Channel Control section.

To make Channel Control assignments on-screen:

Default User map

Right-click any available encoder.

Parameter

Function (type)

2 Select a Channel Control encoder ( 1-8) from the Channel

Control sub-menu.

Input Gain (rotate)

Gain Guess (push)

Input

HPF Freq (rotate)

In/Out (push)

Low Mid Gain (rotate)

Q (push)

Low Mid Freq (rotate)

In/Out (push)

Hi MId Gain (rotate)

In/Out (push)

All assignments are cleared, and the first encoder flashes in

Assign mode (ready to be re-assigned).

Hi Mid Freq (rotate)

Q (push)

To clear a User assignment:

Comp/Lim Threshold

Exp/Gate Threshold

Encoder

On-screen, click Done to confirm Assignment mode (or

press the flashing User switch), or click Cancel.

To clear the User assignment:

Double-press the Channel Control User switch to enter User

Assign mode.

EQ

2 Hold the Default (Alt) switch and press the flashing Channel
Control In switch.

Dynamics

On-screen, right-click a parameter.

2 Choose Clear <param name> from the Channel Control

sub-menu.

To clear all User assignments:

1

On-screen, right-click a parameter.

Choose Clear All Assignments.

Click Clear to confirm and clear all; click Cancel to cancel

and leave the User assignment unchanged.

When no User assignments exist, the Channel Control In

switch flashes. This will be the case after a Clear Console, after
clearing all Channel Control assignments, after the first time
the console is powered on, or after loading a Show file from a
different system that does not support Channel Control.

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VENUE SC48 Guide

Availability of Channel Control Functions

Channel Control functions will be available or unavailable depending on the type of channel currently selected, as shown in the
following table.
Table 2. Channel Types and Available Functions
Inputs

EQ

Comp/Lim

Exp/Gate

Aux 1-8

Aux 1-9

Input Channels

Yes

Yes 1

Yes 1

Yes 1

Yes

Yes

FX Returns

Yes

Yes 1

Yes 2

Yes 2

Yes

Yes

Aux Sends 1-8,

Aux Sends 9-16

Yes 3

Yes 2

Yes 2

Yes 2

Matrixes

Yes 3

Yes 3

Yes 2

Yes 2

Groups

Yes 2

Yes 3

Yes 2

Yes 2

Yes 3

Yes 3

Yes 2

Yes 2

VCAs
Mains LR, C/M

1 Built-in and plug-ins only

2 Plug-ins only
3 Processing available, but not all parameters are available due to the type of bus/channel.

Chapter 6: Channel Control 51

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VENUE SC48 Guide

Chapter 7: 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 screen provides the primary tools by which
you configure mixing, routing, and processing options.
The Devices screen provides status, diagnostics, and options for hardware components.

System
(System Configuration)

The System page lets you allocate DSP resources used for routing and processing, configure Mains and Aux/Group busses,
reset the system (clear console), and quit (shut down VENUE).
To access the System Config page:

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:

Go to the Options page and click the System tab.

Basics of Editing System Settings

Settings available in the System screen can only be edited

while in Config mode.
Changing the system configuration will restart the VENUE
software and may interrupt audio.

System on page 53
Busses on page 55
Pickoffs on page 56
Snapshots on page 57
Misc on page 58
Interaction on page 59

In Config mode, the Edit button becomes available to let you

change settings. When a System Config setting is changed, the
Apply button becomes available at the right of the screen to let
you confirm and apply changes.

Devices on page 61

Edit

Chapter 23, Events

Plug-Ins (see Installing and Authorizing Plug-Ins on
page 151)
To display the Options page, do one of the following:

In Show mode, the Edit button is unavailable. This protects

these settings from being changed during a performance
(since changes to these settings can interrupt audio).

Press the Options switch in the View Mode section.

or

Edit button on the Options > System page

Click the Options tab on-screen.

To display different tabs of the Options page, do one of the

following:
Press the Options switch repeatedly to cycle through available tabs.

or

To change a system configuration option:

1

Put the system in Config mode.

Go to the Options page and click the System tab.

Click Edit.

Change a System Config, Main Bus, Inputs or Bus Configuration option.

Click Apply to confirm and apply your new settings.

Click the desired tab at the top of the Options page (System,
Busses, Pickoffs, Snapshots, Misc, Interaction, Devices,
Events or Plug-Ins).
The Plug-Ins tab is not available in VENUE Standalone
software.

Chapter 7: Options 53

System Configuration Settings

FX Returns

The System Configuration section shows the current allocation of system resources.

Choose the number of FX Return channels you need. On

VENUE SC48 the number of FW Returns is pre-configured to
8 stereo FX Return channels, and cannot be changed.

In Show mode, the System Config area is display-only. In Config mode, you can edit the system configuration to allocate resources for mixing and processing.
To change a System Configuration setting:
1

Put the system in Config mode.

Click the Edit button on-screen.

Choose a new setting for Input Channels or Graphic EQs.

Click Apply to confirm the settings.

Graphic EQs

Choose the number of Graphic EQs you will need for output
processing. You can choose to have 0, 8, 16, or 24 Graphic EQs.
Choosing a lower number leaves more DSP for plug-ins;
choosing a higher number reduces the amount of DSP available for plug-ins.
DSPs Available for Plug-Ins

The amount of DSP available for plug-ins depends on your

other System Config settings, and cannot be changed directly.
To change the amount of DSP available for plug-ins, reduce
the number of Input Channels or Graphic EQs.

Main Bus Settings

The Main Bus Settings let you configure the Main mix bus. See
Configuring the Main Busses on page 78.

Designating the number of Input Channels

Mix Engines

The Mix Engine setting is determined by the number of DSP

Engine Cards detected and cannot be changed. VENUE SC48
comes supplied with two Mix Engines.
Channels

Choose the total number of Input Channels you need. This

number represents mono input processing channels (not
hardware input jacks); each stereo channel uses two mono
channels.

Main Busses options in the System page

LR plus Mono

This default setting provides a stereo bus, plus one mono bus.
LCR

This setting enables LCR mode, which lets you mix in

3-across-the-front mode.
Changing the Main Bus mode will restart the system software and may interrupt audio.

You can configure the VENUE SC48 to use 16, 24, 32, 48, or 64
input processing channels.
Choosing a lower number of Input Channels leaves more DSP
for plug-ins; choosing a higher number reduces the amount of
DSP available for plug-ins.
Choosing 64 input processing channels lets you use the extra
input processing channels for advanced monitor mixing
workflows. For more information, see Multiple Input and
Output Assignments in the Patchbay on page 109.

54

VENUE SC48 Guide

To change the Main Bus configuration:

1

Put the system in Config mode.

Go to the Options page and click the System tab.

Click Edit.

Click to choose a Main Bus mode.

Click Apply; the system restarts.

Bus Configuration Settings

The Bus Configuration Settings let you choose the Aux and
Group busses configuration. For more information, see Configuring Aux and Variable Group Busses on page 78

Pickoff These options let you designate the pre-fader pickoff

point feeding each bus. Choices include pre-EQ, pre-mute,

and pre-fader (post-mute).
Follows Channel Pan Each channel can be panned indepen-

dently within each linked bus pair, or configured to follow the

channel pan by enabling the Follows Channel Pan option.
To change the Aux bus configuration:
1

Put the system in Config mode.

Go to the Options page and click the Busses tab.

Click Edit.

Configure the following settings:

Bus Configuration in Config/Edit mode

To change the Aux/Group Bus Configuration:
1

Put the system in Config mode.

Click the Edit button on-screen.

Click to select a Bus Configuration option.

Click Apply; the system restarts.

To link two mono Aux busses into a bus pair, select the
Link option for the corresponding pair.
Specify the panning for channels routed to Aux bus pairs
with the Follows Channel Pan option.
Click to select the pickoff point for each bus (Pre-EQ,
Pre-Mute, or Pre-Fader).
5

Busses
The Busses page lets you customize characteristics for the
Aux, Solo, Matrix, and Main busses.

Click Apply to reconfigure the system.

or
Click Cancel to exit without changing system settings.

Solo and Monitor Operations

These settings customize Solo and Monitor bus mode and operation.

Solo controls in the Options > Busses page

Type This control lets you select one of the following solo
Busses tab of the Options page

Auxiliaries and Variable Groups

These options let you designate bus link status, pick off
source, and stereo pan behavior for Auxiliaries (Aux Send
busses). (Variable Group busses are available on VENUE Profile and D-Show systems only).
For more information, see Chapter 11, Aux Sends and
Variable Groups.

modes:
PFL (Pre-Fader Listen)
Stereo AFL (After-Fader Listen)
Solo-In-Place
Level Trim This control adjusts the level of PFLd signals. Use
this balance AFL signals or Mix to Monitors with PFL signals
Monitoring This control adjusts the level sent to the Monitor

output.

Links When enabled, this option links the corresponding bus-

Delay This control delays the Monitor and Headphone outputs

ses into bus pairs. Control changes affect both mono Aux busses, and the Follows Channel Pan option becomes available.

Us this to time-align headphones or near field monitors to the

house system.

Chapter 7: Options 55

Auxes/Var Groups Follow AFL When this option is selected,

To set Center Divergence:

soloing an Aux output bus (by pressing its AFL switch) assigns
the Aux Send level and pan controls for that bus to be displayed on the input encoders.

Enter a value or drag in the Center Divergence text box and

press Enter.

For more informations, see Main Bus Center Divergence

Options on page 82.

AFL Follows Auxes This option Soloes the Aux (or Variable

Group) bus currently being assigned to Input encoders.

Auto Cancel Soloing a channel strip automatically takes any

currently soloed channels out of solo.

Input Priority Makes soloed inputs temporarily replace soloed
output busses on the AFL/PFL bus.
Mix to Monitors Mirrors the functionality of the Mix to Monitors switch on the control surface.

Stereo Group Mode

The Stereo Group Mode options provide different levels of

flexibility for how channels can be routed to Groups.
To change Stereo Group Mode:
1

Put the system in Config mode.

Click to select Simple or Expert mode.

Cue on Mains Fader Puts level control for the Monitor output

on the Mains fader.

For more information on these options, see Simple and Expert Operational Modes on page 91.

To configure Solo settings on-screen:

1

Go to the Options page and click the Busses tab.

Configure settings as needed:

To adjust Monitor Bus Delay, do one of the following:

Adjust the Delay encoder on-screen.

Pickoffs
The Pickoffs page lets you control the bus pickoff point on input strips, as well as specify source and insert points for output busses. The Pickoffs page also provides master control for
Delay Compensation.

Click the Delay value shown on-screen, and manually enter a

new value.

To toggle Delay on or off:

Click to toggle the Delay In switch on-screen.

Delay settings are retained when toggled off or on.

Matrixes
The Matrixes section lets you link and unlink Matrix to form
stereo Matrix busses.
Links When enabled, these options link corresponding mono
Matrix busses into stereo-linked pairs. Control changes then
affect both mono Matrix busses.

For more information on these features see Chapter 12,

Matrix Mixers.

Panning
The Panning section provides control over center channel divergence when the Main Bus is set to LCR mode, and Stereo
Group Mode settings.
Center Divergence

When the Main busses are set to LCR (Left-Center-Right)

mode, the Center Divergence setting determines amount of
center-panned signal sent to the center output.

56

VENUE SC48 Guide

Pickoffs tab of the Options page

Delay Compensation
The Options > Pickoffs page provides three settings for Delay
Compensation: Off, Mix Only, and Mix and Inserts.
Off No Delay Compensation is applied.
Mix Only VENUE automatically compensates for delays incurred by the use of Groups routed to the Mains busses.
Mix and Inserts VENUE automatically compensates for delays
incurred by the use of plug-ins as well as those incurred by the
use of Groups routed to the Mains busses.

Throughout this guide, other Pickoff options are explained

where relevant.

Snapshots
The Snapshots page provides several snapshot preference settings to optimize Snapshot operation.

MTC (MIDI Time Code)

The MIDI Time Code options let you control MTC operational
modes, frame rate, and Start Time.
Modes Available MTC modes are MTC Off, MTC Read (slave),

and MTC Generate (master).

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.
MIDI

Designates the channel on which snapshots send or receive

MIDI Bank Select and Program Change information.
See Chapter 24, Synchronization.

Snapshots tab of the Options page

Snapshot General Preferences

The following settings are available in the Snapshots page.
See Chapter 22, Snapshots.
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.
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.

PRE

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.
MIDI Snapshot Output Safe Safes (shuts off) VENUE MIDI out-

put when snapshots are recalled. This does not affect sending
of Bank Select and Program Change commands with the Snapshots Send on Channel option.

The options in the PRE section let you specify which parameters are recalled with Snapshots whose scope includes Pre settings. Click to toggle whether recalled Input snapshot data includes the following:
Gain, Pad, and Phase
+48V (phantom power)
HPF
Delay is stored as a unique (discrete) data type for each
channel.

Aux Mon and Aux FX

These settings let you classify individual Aux Sends (including
linked bus pairs) as monitor sends (Mon) or as effects sends
(FX), which lets you scope each type separately from the
Snapshots page.
This option is for organizing Aux Sends for snapshot control
only, and does not directly affect Aux bus operation.
Chapter 7: Options 57

Misc
The Miscellaneous page provides utility and other settings.

Routing Osc, 2-Track and Talkback

Use the Patchbay to assign the Oscillator, 2-Track inputs, or
Talkback input to an Input or FX Return fader.
For more information, see Chapter 13, Patchbay.
You can use the on-screen Route buttons to route oscillator,
2-track and talkback signals to outputs.
To route the Oscillator, 2-Track, or Talkback outputs on-screen:

In the Options > Misc page, click the Route button in either
the Oscillator, 2-Track, or Talkback sections.

Do either of the following:

If you had already selected the desired output, click to
confirm the currently displayed Route To mode (in the
lower left corner of the screen).
Go to the Outputs page and click to select an output (it
flashes briefly, otherwise the Outputs page remains focussed on the currently selected Output channel).

Misc tab of the Options page

Oscillator
Lets you choose the tone, frequency, and level for the built-in
oscillator, and route it to an available output.
Signal Lets you choose the type of oscillator tone to use.
Choices include sine, variable sine, and noise.

In the confirmation dialog that appears, click Route to confirm your assignment or click Cancel to cancel without changing the current routing.

System Clock
Sets the date and time for the system.

Frequency Lets you set the oscillator frequency.

Time of Day in Status Display
Route Enables Route Osc to Selected mode, to assign the oscil-

lator signal to the currently selected output channel(s).

2-Track
Lets you set the level and input source for the 2-Track analog
and digital inputs, and route them to the desired outputs.
2-Track Level Lets you activate 2-Track input and set 2-Track

input level.
2-Track Input Selects which 2-Track input (analog, or digital)
is fed to the monitors and output busses.
Route Enables Route 2-Track to Selected mode, to assign the

2-Track signal to the currently selected output channel(s).

Talkback
Talkback Level Lets you activate Talkback and set Talkback in-

put level.
Talkback Dim Level Sets the dim level, which is the amount of

attenuation applied to the mix on the output bus when Talkback is activated.
Route Enables Route Talkback to Selected mode, to assign the

Talkback signal to the currently selected output channel(s).

58

VENUE SC48 Guide

You can choose to show time of day in the lower right corner
of the screen in the Status display area. This optional display
can be configured for either 12 hour (AM/PM) or 24 hour format as follows:
To show time of day in the Status area:
1

Go to the Options > Misc page.

In the System Clock section, enable the Show Time in Status

Area option.
3

Select 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.

Channel Delay
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

Tap Tempo
Lets you set the global system tempo, toggle system tempo
on/off, and choose to display tempo in BPM or ms.
On Turn on the global tempo sync by clicking the On switch

Interaction
The Interaction page lets you configure behaviors for the Selected Channel (ACS) sections, Input Safe Switches, Lights,
Meter, Ethernet, and LCD Display.

directly below the encoder so that it is lit (on).

Tempo Sets a system tempo value using the encoder or by typ-

ing a value directly into the Tempo field.

Units Lets you choose Beats Per Minute (BPM) or Millisec-

onds as the units for displayed values.

Units

On/Off

Tap Tempo controls in the Options > Misc page

Mouse
Pointer Speed and Mouse L/R Settings

You can customize the response speed for the trackball (or
mouse) and on-screen cursor, and reverse the left/right assignment of the Trackball buttons, from the Options > Misc
page.
To customize Pointer Speed:

Interaction tab of the Options page

Assignable Channel Selection

Options in this section set the mechanism by which channels
are targeted on the Selected Chan sections (also known as the
ACS, or Assignable Channel Section).
On the VENUE SC48 this setting can also affect the Channel
Control section and the Flex Channel.

Go to the Options > Misc page.

To customize console and screen interaction:

Do any of the following:

Go to the Options page and click the Interaction tab.

To adjust cursor speed, click the Pointer Speed pop-up

menu and choose a higher value for faster response, or a
lower value for a slower response.

Set the following Assignable Channel Selection options:

To reverse the left/right assignment of the two Trackball

buttons, click to enable Switch Buttons.

The Change Target By options let you specify whether the following actions target a channel on the ACS. More than one option can be selected simultaneously.

Change Target By

Touching Input Faders

Engaging Input Solos
Touching Output Faders
Engaging Output Solos
Targeting Changes View Mode

The Targeting Changes View Mode option updates the

on-screen display to show the page for the channel targeted.
When this option is deselected, the on-screen display does not
update when a channel is targeted.
VENUE SC48 also provides the latchable Flex Channel. For
more information, see Flex Channel on page 74

Chapter 7: Options 59

Meter
Metering settings provide the following options for meter ballistics, peak, and clip indication.
Ballistics This option lets you choose RMS or Peak ballistics

for the control surface and on-screen meters.

Use RMS when recording to Pro Tools. For more information, see the Live Recording Guide .
Input Clip Margin and Output Clip Margin These options set the

level, relative to the maximum (full scale) level, at which a clip

is reported on a channel. When a clip is detected, the entire
channel meter turns red.

Control Settings These settings let you configure VENUE Link

to integrate a Pro Tools system with VENUE.

For more information about ECx Ethernet Control, see
Chapter 32, ECx. For information about VENUE Link, see
the Live Recording Guide .

Lights
Console and LED/Display settings let you adjust the brightness of the following items:
Console Lights Adjust brightness of external lights connected

to the Console Lights connectors on the back panel.

LEDs and Displays Adjust brightness of LED and LCD dis-

To set Input or Output clip margin:

plays on the control surface.

1 Click in the dB Below Max edit box for Input Clip Margin or
Output Clip Margin.

Displays

Enter a value or drag to change the value and press Enter.

The entered value is interpreted as a relative dB value from the

maximum (where Max is considered +20 dBVU). For example, with the Input Clip Margin set to 6 dB below max (the default), peak levels within 6 dB of maximum level will trigger a
clip indication
Clip Hold Time and Peak Hold Time These options specify how

long clips and peaks are held. Default is 2 seconds for both
Clip and Peak hold.

Input Safe Switches

The Input Safe Switches let you control two independent Safe
functions: Automation Safe and Solo Safe. Only one of these
Safe functions can be viewed and controlled at a time.
Act as Automation Safes When selected, this option sets the
console Safe switches and on-screen channel Safe buttons to
toggle the Automation Safe status of the corresponding channel. For more information, see Chapter 22, Snapshots.
Act as Solo Safes Solo Safe applies only to Input Channels and
FX Returns. When selected, this option sets the Safe switches
to toggle the Solo Safe status of the corresponding channel.
See Solo Bus Operation on page 119.
Act as Bank Safes When selected, this option sets the Safe
switches of Input Channels and FX Returns to toggle that
channels Bank Safe Status. (Bank Safe keeps channels at the
top fader layer, immune to input banking.) For more information, see Bank Safe Mode for Input Safe Switches on page 36.

Ethernet Control
Ethernet Control settings let you configure the following:
Network Settings These settings let you configure ECx Ethernet Control to remotely control VENUE over a wireless Ethernet network.
60

VENUE SC48 Guide

These options let you customize the behavior of the control

surface LCDs.
Viewing Angle This option lets you configure the Selected
Channel and Snapshots LCD displays for optimum viewing.
Show Channel Strip Value While Moving Fader This option determines what is displayed in the Channel Name display when
a fader is adjusted. When selected (default), the Channel
Name display switches from showing channel name to showing the value (level) when a fader is adjusted. When deselected, the Channel Name displays do not show values when a
fader is adjusted.
Show VCA Contribution This option lets you display a secondary, transparent fader cap on each on-screen fader strip that
represents the effective gain of the channel (channel gain plus
associated VCA gain, if any). For more information, see Assigning and Using VCAs on page 84.

Devices

Events

The Devices page lets you view system connections, troubleshoot hardware and reset VENUE system components.

The Events tab of the Options page lets you use the Event List
to customize the function of switches, footswitches and General Purpose Interface (GPI)-connected devices. For information, see Chapter 23, Events.

To display the Devices tab:

Click Options > Devices.

Options > Events page

Plug-Ins
Devices tab of the Options page

You can use this page to view component status after diagnostics or troubleshooting.
To reset VENUE system hardware components:
1

Put the system in Config mode.

Go to the Options page and click the Devices tab.

Right-click any of the following hardware components:

The Plug-Ins tab of the Options page is used to install plug-ins

on the VENUE system. The Plug-Ins tab is available on complete VENUE systems only. It is not available in the VENUE
Standalone software. See Installing and Authorizing
Plug-Ins on page 151.

Console sections
Stage or FOH Audio section
4

Choose Reset.

Simulating a VENUE Configuration with

the Standalone Software
With the VENUE Standalone software, you can use the Devices
page to simulate a VENUE system of any size for purposes of
preparing shows and training. See Simulating a VENUE Configuration on page 222.

Chapter 7: Options 61

62

VENUE SC48 Guide

Part III: Signal Routing

Chapter 8: Inputs and Input Routing

This chapter shows how to do the following:

Configure inputs (system settings for input channels),
name channels, Make Stereo and Split to Mono)
Assign input sources to Input Channels in the Patchbay
Route input channels to Mains, Groups, and Aux Sends,
to Matrix mixers and other output busses, and to plug-ins
Adjust input channel parameters

Configuring Inputs
The following two types of input channels are available:

Configuring FX Returns

VENUE SC48 provides 8 stereo FX returns, and this setting

cannot be changed. You can, however, use the Standalone
Software to simulate a different VENUE system and then configure the number of FX Returns, as available on those systems. This can be useful if you are planning to transfer a Show
file to a larger VENUE system.

Combining Input Channels (Make Stereo)

Pairs of mono input channels can be combined to make stereo
channels, whose left and right sides are then controlled by one
input channel strip.

Input Channels Input Channels are used to control inputs

from stage and FOH (local) audio inputs, from Pro Tools, or
from bus-fed plug-ins.
Input channels can be mono or stereo. Each mono channel
controls one input, and each stereo channel controls two inputs in tandem. Input channels can appear on any of the input
channel strips. Up to 64 mono input channels are available.
Input channels are displayed in banks on the 16 control surface input channel strips.

To combine two mono input channels into a single stereo

channel:
1

Put the system into Config mode.

Select two mono channels by doing either of the following:

On the console, press and hold the Multi-Select switch,
then press Select on each of the two mono channel strips
you want to combine.
or
On-screen, go to the Inputs page and click a fader strip to
select the first mono channel, then hold Shift and click to
select the second mono channel you want to combine.

FX Returns Effects Return channels (or FX Returns) are used

to control signals from bus-fed plug-ins, from external hardware, or from Pro Tools.
FX Returns are always stereo, and appear on input channel
strips 18. Up to 8 stereo FX Returns are available.

Right-click either of the selected mono channels on-screen

and choose Make Selected Mono Strips Stereo.

Configuring Input Channels

VENUE SC48 can be configured to have 16, 24, 32, 48, or 64
available Input Channels.
To set the number of available Input Channels:
1

Put the system into Config mode.

Go to the Options page and click the System tab.

Click Edit.

Choose the number of channels from the Input Channels

pop-up menu.
4

Click Apply. The system restarts with the new Input Channel
configuration.

Two mono inputs about to be combined into one stereo channel

Each selected channel is combined with the next-highest selected channel, even if the selected channels are not contiguous. Blank strips are created and inserted where necessary to
maintain channel layout in that bank. Parameter values from
the leftmost channel of each pair are applied to both channels,
and the pan control becomes a Balance/Width control.

Audio will be interrupted when this configuration change

is applied.

Chapter 8: Inputs and Input Routing 65

Combined channels are shown in the patchbay as left and right

sides of the Input Channel name. FX Returns are always stereo, so they cannot be combined or split.

Reordering Input Channels Using Drag

and Drop
Input channel strips can moved and reordered by dragging
and dropping an input channel on-screen.
To reorder an input channel:
1

Put the console in Config mode.

Stereo Input Channel in the Patchbay Input page

Go to the Inputs page.

On the console, the channel St (Stereo) LED lights to indicate

that a channel is a stereo channel.

To split a stereo channel into two mono channels:

Put the system into Config mode.

Select the stereo channel you want to split.

Right-click the selected channel and choose Split Selected

Target the input channel that you want to move by clicking

the channels on-screen fader strip.

Drag the channel, denoted by the blue line, to the desired location and release the button on the mouse.

Stereo Strip to Mono.

Each selected stereo channel is split, placing the channels next

to each other on the console and in the Patchbay. Delete blank
strips manually to maintain channel layout, if necessary.

Naming Channels
Input Channel and FX Return channel names can be changed
from the Inputs page or from the Patchbay.
Reordering an Input channel 8 using drag and drop
To change the name of an Input Channel or FX Return channel:
1

Go the Patchbay page and click the Inputs tab.

Target the channel whose name you want to change by pressing its Select switch or selecting it on-screen.

Double-click the channel name.

Changing the name of an Input Channel in the Inputs page

4

Type a new name and press Enter on the computer keyboard.

When naming channels in the Patchbay, you can double-click the channel name shown in the columns of the grid
and type a name; press Tab on the keyboard to go to the next
channel and Shift+Tab to go to the previous channel.

66

VENUE SC48 Guide

The location of the channel changes on the control surface and

on-screen (on the Inputs page and in the Patchbay). The original hardware input for the channel remains the same, and all
other channel parameters are preserved.
You can select and reorder multiple input channel strips.
Shift click multiple fader strips and drag them to the new location.
Channels can also be moved using the Move Selected Strip
right-click command. See Move Selected Strip on
page 42.

Assigning Input Sources to Channels

Routing Input Channels

Available input sources for Input Channels or FX Returns include:

Input Channels and FX Returns can be routed to the Mains,

Groups, Auxes, and Matrixes (as well as being assigned to
VCAs). This chapter shows how to route inputs using the controls available in the Input section and ACS.

Stage inputs (slots A, B and C)

Local FOH inputs (2-Track sources, Talkback, Oscillator)

You can also configure signal routing from the Output section. See Chapter 9, Outputs and Output Routing.

Pro Tools outputs (FWx)

Plug-In outputs
Inputs sources are assigned to Input Channels or FX Returns
in the Patchbay.

Routing Channels to the Mains and

Groups Busses

To assign an input source to an Input Channel or FX Return:

Input Channels and FX Returns can be routed to the Mains

and Groups busses using the Bus Assigns section of the ACS.

Go to the Patchbay page and click the Inputs tab.

To the left of the channel grid, click the Channels tab or the
FX Returns tab.

To route a channel to Mains and Groups busses:

1

Target the channel by pressing its Select switch.

3 Click the Stage, FOH, or Pro Tools tab to display the desired
type of input sources.

Do any of the following:

Click in the channel grid to assign an input source to an Input Channel or FX Return.

To route to Mains, press the LR (left and right) and/or

C/Mono (center/mono) switch in the Bus Assigns section so
that is lit.
To route to a Group bus, press a Groups 18 switch.
The LR and C/M LEDs on the channel light to indicate its
routing to the corresponding bus.

Stereo Pan

Mains

Groups

Assigning input sources in the Patchbay Inputs page

The Inputs tab of the Patchbay shows the input source and
destination above the grid. Input source is also shown below
the channel name in the Inputs and Patchbay Inputs page.

Bus Assign switches

To route multiple channels to Mains and Groups busses:

Target the first channel you want to route by pressing its

Select switch.

Press and hold the Multi-Select switch (located to the left of

the input faders), then press the Select switches on the other
channels you want to route to the Main busses.

Input source assignment shown in the Inputs page

A single input source can be assigned to multiple Input Channels or FX Returns (you can fan out a source to multiple channels). Gain control, phantom power and pad settings are
linked across the channels. Each Input Channel or FX Return
may be fed by only one input source (multiple sources cannot
be routed to a single channel).

In the Bus Assigns section, press the Bus Assign LR (left

and right), C/Mono (center/mono) and Group 18 switches to
route the selected channels to those busses.

The LR, C/M and 18 Bus Assign LEDs on each channel light
to indicate routing to the corresponding busses.

Assigning Bus-Fed Plug-Ins, Osc/Talkback/2-Track

Bus-fed plug-ins can be patched to Input Channels and FX Returns from the Plug-In Rack (see Using Plug-Ins as a Bus Processor on page 160).
You can also route the built-in Oscillator, Talkback input, and
2-Track sources to input channels (see Routing the Oscillator on page 125).
Chapter 8: Inputs and Input Routing 67

Configuring Mains and Groups Busses

The Main busses can be configured to operate as LR plus

Mono (LeftRight stereo plus a Mono channel), or as LCR
(LeftCenterRight). See Configuring the Main Busses on
page 78.
VENUE SC48 has 8 Group busses that can be configured to be
mono or stereo as part of the overall Aux/Group bus configuration. For more information on configuring Group busses,
see Configuring Aux and Variable Group Busses on page 78.
For more information on using Group busses, see Chapter 10,
Groups.

To route channels to Aux Sends using the Channel Control

section:
1 Target the first channel you want to route by pressing its Select switch.
2 Press and hold the Multi-Select switch next to the input faders, then press the Select switches on the other channels you
want to route to the Auxes.

In the Channel Control section, press the Aux Sends 18 or

Aux Sends 916 switch to bank the Channel Control encoders
to those Auxes.

Encoders

Routing Channels to Aux Sends

Input Channels and FX Returns can be routed to Aux sends using the input encoders, or using the Channel Control section.
To route channels to Aux sends using the input encoders:
1 To access Aux Sends on the input channel encoders, press an
Encoder assign Aux Sends switch 12 through 1516.

The first press of an Aux Send switch assigns level control

of the odd-numbered send to the encoders. The switch
lights green to indicate an odd-numbered selection.
The second press of an Aux Send switch assigns level control of the even-numbered send to the encoders. The
switch lights yellow to indicate an even-numbered selection.
Aux Sends 18
Aux Sends 916
Encoders

Channel Control

Press the Channel Control encoder that corresponds to the

desired Aux Send bus so that its On indicator LED lights.

Aux
sends

The first press of an Aux Send switch assigns level control

of the odd-numbered send. The switch lights green to indicate an odd-numbered selection.
The second press of an Aux Send switch assigns level control of the even-numbered send. The switch lights yellow
to indicate an even-numbered selection.

Encoder assignment switches for input channels

For each channel you want to assign to the selected Aux Send
bus, press its channel encoder so that its On indicator LED
lights.

To set the Aux Send level, do either of the following:

Turn the encoder on each channel.
Press the Flip to Faders switch, then adjust the channel
fader.

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VENUE SC48 Guide

Turn the encoder to set the Aux Send level.

Configuring Aux Busses (Aux Sends)

VENUE SC48 can be configured to have 8, 16, or 16 Aux busses

and 8 Variable Groups (24 bus) as part of the overall
Aux/Group bus configuration. Mono Aux buses can be linked
in odd/even pairs to function in stereo (see Configuring Aux
and Variable Group Busses on page 93).

Routing Channels to Variable Groups

You can route any Input Channel or FX Return to Variable
Group sends using the input encoders, the controls in the
Channel Control section, or on-screen.
Before routing channels to Variable Groups, you must first activate variable groups. See Activating Variable Groups on
page 98.
To route channels to Variable Group sends using the input
encoders:
1 Activate Variable Groups. Input encoder Aux Send assign
switches 18 now control Variable Groups 18.
2

Press an encoder Aux Send assign switch 18.

To route channels to Variable Group busses using the Channel

Control section:

Activate Variable Groups. In the Channel Control section,

the Aux Sends 18 switch flashes and the Channel Control Encoders now control Variable Groups sends 18.

2 Target the first channel you want to route by pressing its Select switch.
3 Press and hold the Multi-Select switch next to the input faders, then press the Select switches on the other channels you
want to route to the Variable Groups.

In the Channel Control section, press the Channel Control

encoder that corresponds to the desired Variable Group bus so
that its On indicator LED lights.

The first press of a Variable Group switch assigns level

control of the odd-numbered send. The switch lights
green to indicate an odd-numbered selection.
The second press of a Variable Group switch assigns level
control of the even-numbered send. The switch lights yellow to indicate an even-numbered selection.
5

Turn the encoder to set the Variable Group send level.

Routing Channels to Matrix Busses

Input encoder Aux Send assign switches 12 through 78

For each channel you want to assign to the selected Variable

Group, press its channel encoder so that its On indicator LED
lights.

The first press of a Variable Group send encoder assigns

level control of the odd-numbered send. The switch lights
green to indicate an odd-numbered selection.
The second press of an Variable Group send encoder assigns level control of the even-numbered send. The
switch lights yellow to indicate an even-numbered selection.

Matrix source assignments determine input signal routing to

each of the Matrix mixers. Matrix source inputs can include
up to 12 inputs per mixer.
Matrix signal routing is performed from the Matrix tabs of the
Outputs page (see Chapter 12, Matrix Mixers).

Assigning Channels to VCAs

Channels can be assigned to VCAs for consolidated control of
multiple channels.
To assign one or more channels to a VCA:
1

Press the VCA switch to bank the Output Faders to VCAs.

Select the VCA (1-8) you wish to assign to by pressing its Select switch.

Press the Multi Assign switch near the Output encoders.

While engaged, the Multi Assign and output Select switch
LEDs flash.

Press the Select switch on the inputs or outputs you want assigned to the currently targeted VCA. Use the Input and Output Fader bank switches to access the desired channel strips.

Input channel encoders

To set the Variable Group send level, do either of the following:

4

Turn the encoder on each channel.

Press the Flip to Faders switch, then adjust the channel
fader.

Press the Multi Assign switch again to confirm the action.

or

Select another VCA to confirm the current assignment but remain in Multi Assign mode for the newly targeted VCA.
For more information on VCAs, see Assigning and Using
VCAs on page 84.
Chapter 8: Inputs and Input Routing 69

Routing Inputs to Direct Outputs

Expander/Gate

All Input Channels and FX Returns have Direct Outputs,

which can be assigned to hardware outputs, used as inputs to
plug-ins, and sent to Pro Tools.

To engage the built-in Expander/Gate on the selected channel:

Direct Outs are assigned in the Patchbay, and can be controlled from Channel Control section or on-screen. For more
information on routing and assigning Direct Outputs, see Direct Outputs on page 83.

To adjust Expander/Gate controls:

Target a channel by pressing its Select switch.

Press the Exp/Gate switch in the Channel Control section.

The switch lights to indicate control of the Expander/Gate.

Press the In switch to engage the built-in expander/gate.

Press and/or rotate Channel Control encoders to adjust the

displayed parameters.

Each Input Channel has built-in Dynamics processors, a

High-Pass Filter and a 4-band EQ; each FX Return has a
built-in 2-band EQ. If the channel is a stereo channel, the processor controls are linked and apply to both the left and right
sides of the channel. Built-in EQ processors are controlled
from the Channel Control section of the ACS.

Using Dynamics on Channels

A built-in Compressor/Limiter and Expander/Gate are available on each Input Channel. Controls for all of the built-in dynamics processors are provided in the Channel Control section, and an input/output curve appears on-screen.
Compressor/Limiter

For more information, see Chapter 17, Dynamics.

Using Built-In EQ on Channels

A built-in High-Pass Filter and 4-band EQ are available on
each Input Channel, and a 2-band EQ is available on each FX
Return. Controls for built-in EQ processors are in the Channel
Control section, and an EQ response curve appears on-screen.
One of two EQ types can be selected for the built-in EQ, on a
per-channel basis: a full-spectrum parametric digital EQ or an
analog-modeled EQ.
To use the built-in EQ on a channel:

To engage and adjust the built-in Compressor/Limiter:

Target a channel by pressing its Select switch.

Press the Comp/Lim switch in the Channel Control section.

The switch lights to indicate control of the Compressor/Limiter.
2

Engage the built-in processor by pressing the In switch in the

Channel Control section.

Press and/or adjust the Channel Control encoders for the

displayed parameters.

In

Using Built-In Dynamics and EQ

Press the Exp/Gate switch in the Channel Control section.

Target the channel by pressing its Select switch.

Do any of the following:

To engage the channel High-Pass Filter, press the HPF
switch in the Encoder Assignment section. Toggle HPF
in/out on each channel by pressing its encoder; adjust
HPF frequency by rotating its encoder.
To engage the built-in 4-band or 2-band EQ, press the EQ
switch in the Channel Control section, then press the
Channel Control In switch to put the EQ in circuit.

Encoders
1

In switch

EQ

EQ switches in Channel Control

Comp/Lim

Exp/Gate

Controls for built-in dynamics processors in Channel Control

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VENUE SC48 Guide

For more information, see Chapter 18, EQ.

Using Inserts on Channels

Adjusting Input Controls

You can use software plug-in inserts on any input channel or

FX return.

Input Gain

If your SC48 includes an IO16 option card, you can also use
hardware inserts. See Chapter 20, Hardware Inserts.

Using Plug-In Inserts on Channels

Plug-Ins are arranged in virtual racks, which allow signals to
be sent to and from each plug-in as if it were an external processor. Plug-Ins can be used in two ways: as inserts, or as effects in a Send/Return arrangement.
Insert The plug-in is patched in at the insert point on an input
or FX return. Each input channel can have up to four plug-in
inserts.
Send/Return Signal is sent to the plug-in over any of the system busses (usually an Aux Send or a Direct Out) and routed
back to an input or FX return.

Input Gain is adjustable from the rotary encoders on each Input Channel and FX Return. Mic inputs have a gain range from
+10 dB to +60 dB. Analog line inputs and digital inputs have a
gain range from 20 dB to +18 dB.
Gain Guess Feature

The automated Gain Guess function can be used to set a nominal level for a channel based on its incoming signal. When
you press and hold a rotary encoder assigned to input gain, the
system samples incoming signals and automatically sets the
channel gain and pad for a 0 dB reference when the encoder is
released. Gain Guess follows the current Meter mode (Peak or
RMS).
Gain Indicators

You can insert plug-ins on Input Channels and FX Returns directly from the Inputs page or from the Plug-In Rack.

When Gain is displayed on the input encoders, the encoders

indicator LED lights to indicate that the gain is set to the default value (+10 dB for analog inputs, and 0 dB for digital inputs). Gain change is indicated by the encoder ring LEDs, and
gain value is shown in the channel display when adjusted.

To insert a plug-in on a channel:

Setting Input Gain

Inserting Plug-Ins on Channels

Select a channel. If necessary, click to show the Inputs page.

In the Inserts section of the Inputs page, do one of the following:

Click one of the four Inserts pop-up menus and choose a

plug-in directly from one of the Plug-In Rack submenus.

Gain can be controlled from individual channel strips or from

the ACS section.

Gain
HPF

Pan

or
Click one of the four Inserts buttons to go to the Plug-In
Rack, and route the signal to the plug-in using Plug-In
Rack controls.

Click to
assign

Encoders

Aux
Sends

Click to
go to the
plug-in
rack
Encoder assignment switches for input channels

Assigning a plug-in insert in the Inputs page

The name of the plug-in insert appears in the on-screen

Plug-In Insert display.
For more information on using plug-ins in a Send/Return
arrangement, see Using Plug-Ins as a Bus Processor on
page 160.

+48 V
Input Polarity

20 dB Pad
Safe

Input controls in the ACS

Chapter 8: Inputs and Input Routing 71

To adjust input gain from the encoders:

In the Encoder Assignment section, press the Gain switch to

assign gain control to the channel encoders.

Pan/Balance
Pan adjusts channel pan (for mono Input Channels) and stereo balance (for stereo Input Channels and FX Returns).

Rotate an encoder to adjust gain on its channel.

To adjust channel pan/balance from the encoders:

To adjust input gain from the ACS:

Select one or more channels to target them in the Channel

Control section of the ACS.

Press the Input switch in the Channel Control section.

In the Encoder Assignment section, press the Pan switch to

assign pan/balance control to the rotary encoders.
Adjust the channel pan/balance by turning the assigned rotary encoder.

Gain (with Gain Guess) is assigned to the first encoder in the

Channel Control section. Adjust the gain by turning the assigned encoder.

To balance stereo signals from the ACS:

To adjust input gain using Gain Guess:

Press the Input switch in the Channel Control section.

Rotate the Balance encoder.

Press and hold the assigned Gain encoder (input channel encoder, or Channel Control encoder 1) while receiving an input
signal. The LED flashes to indicate level sampling.

Select one or more channels to target them in the Channel

Control section of the ACS.

Stereo Width

Release the rotary encoder. 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).

Width adjusts the stereo image of stereo input channels and

FX returns by controlling ganged pan positions of the left and
right channels, in opposite directions.

Setting Right Offset on Stereo Channels

Width can be adjusted from full LR, to mono, to full reversed

LR. Width controls are not available on mono channels.

On stereo Input Channels and FX Returns, 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.

To adjust width of stereo signals from the ACS:

Select one or more channels to target them in the Channel

Control section.

To adjust stereo channel gain offset from the console:

Press the Input switch in the Channel Control section.

Select one or more channels to target them in the Channel

Control section.

Rotate the Width encoder.

Press the Input switch in the Channel Control section.

Adjust the Right Offset encoder.

To adjust channel gain offset for a stereo channel on-screen:

1

Go to the Inputs page and target the stereo channel.

2 Adjust the right channel gain using the on-screen Right Offset encoder.

Stereo Level Offset Indication

The Stereo LED below the channel meter flashes when the difference in signal level between the left and right channels is
12 dB or greater.

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VENUE SC48 Guide

To adjust width of a stereo channel on-screen:

1

Select one or more channels.

In the Inputs page, adjust width by turning the on-screen

Width rotary encoder. Turning the encoder clockwise moves

the width to full stereo, and counter-clockwise moves the

width to reverse stereo. The center position represents mono.

High-Pass Filter

Input Polarity (Phase) Invert

A built-in 4th-order High-Pass Filter can be engaged on each

Input Channel. The HPF corner frequency range is from 20 Hz
to 500 Hz.

The polarity of any Input Channel or FX Return signal can be

inverted. With stereo channels, only the left channel is inverted.

To engage the built-in HPF from the Input encoders:

To invert the polarity of a channel:

In the Encoder Assignment section, press the HPF switch to

assign HPF control to the rotary encoders.

Press a channel rotary encoder to insert the filter in that

channel. The rotary encoder On indicator LED lights when
the HPF is in circuit.

Adjust the HPF corner frequency by turning the assigned rotary encoder.

To engage the built-in HPF from the ACS:

Select one or more channels to target them in the Channel

Control section of the ACS.

Target the channel by pressing its Select switch.

2 Press the polarity inversion () switch in the ACS Input section. The switch lights when the polarity is inverted.

Safe
The Safe switch toggles Automation Safe, Solo Safe, or Bank
Safe on/off. The current function of the ACS Safe switch is determined by the current Input Safe switch assignment in the
Options > Interaction page.

Press the Input switch in the Channel Control section.

Press the HPF encoder to toggle the HPF in/out.

Rotate the HPF encoder to adjust HPF frequency.

Phantom Power

When a Safe mode is enabled for the currently selected channel, the ACS Safe switch lights if that Safe mode is the currently assign Input Safe Switch mode. Channel safe status is
also indicated by the lit or unlit state of each channel strip Safe
LED.
To configure the Safe switches for Automation, Solo or Bank
mode, see Input Safe Switches on page 60.

48V phantom power can be applied to any analog Stage input

assigned to an Input Channel or FX Return.

To toggle the current Safe state of a channel:

To apply phantom power to an input:

Assign a Stage input to a channel. See Assigning Input

Sources to Channels on page 67.

Target the channel by pressing its Select switch.

Press the Safe switch in the ACS Input section. The switch
lights solid when the current channel is Automation Safe,
flashes when the channel is Solo Safe, and flashes rapidly when
in Bank Safe.

Target the channel by pressing its Select switch.

Press the +48V switch in the ACS Input section. The switch
lights when phantom power is applied.

If an input is moved to a different channel, the gain, pad,

and phantom power setting will move with the input.

20 dB Pad
A 20 dB pad can be applied to any analog Stage input assigned
to an Input Channel or FX Return.
To apply a 20 dB pad to a Stage input:
1

Target the channel by pressing its Select switch.

Delay
A variable delay can be applied to any Input Channel or FX Return. The delay range is from 0 to 250 milliseconds.
To apply delay to a channel from the console:

Select one or more channels to target them in the Channel

Control section of the ACS.

Press the Input switch in the Channel Control section.

Press the Delay encoder to engage channel delay.

4 Adjust the Delay encoder to set the desired amount of channel delay.

Press the 20 dB Pad switch in the ACS Input section. The

switch lights when the pad is applied to the Stage input.

The Gain Guess feature turns the Pad on or off as needed to

accommodate incoming signal level

Chapter 8: Inputs and Input Routing 73

Channel Solo
Three Solo modes are available: Solo In Place (SIP), Pre-Fader
Listen (PFL), and After-Fader Listen (AFL), and several options are available for configuring Solo bus operation. Channels can also be implicitly soloed as part of a VCA.
See Chapter 15, Solo and Monitor Busses.

Flex Channel
The Flex Channel provides a dedicated fader, encoder, and
LCD display along with channel Select, Solo and Mute
switches for the currently selected input channel. The Flex
Channel can be latched to any input channel for uninterrupted
control of any vital input channel.

To solo a channel:

Encoder

Press the channels Solo switch. The Solo switch lights solid
to indicate the channel is explicitly soloed.

Select/Latch
Solo

Channel Mute

Mute

To explicitly mute a channel:

Press the Mute switch on the channel. The mute switch
lights solid to indicate the channel is explicitly muted.

Channels can be muted in three ways: explicitly with the

channel mute switch; implicitly as a result of another channel being soloed, and as a member of a Mute Group or VCA.
For more information see Chapter 16, Muting and Mute
Groups

Channel Level
Channel level can be adjusted from the Input or FX Return
faders and using the on-screen faders. The currently selected
channel(s) can also be adjusted from the Flex Channel.
Input channel levels can also be affected by VCAs. For more
information, see Assigning and Using VCAs on page 84.
Channel Faders

Channel Faders provide channel level control from (INF)

to +12 dB. Use the faders on the console, or on-screen, to adjust individual channel levels.
For more information on input and output fader banking,
see Chapter 5, Navigating and Selecting Channels.

Fader

Flex Channel

In its default Selected Channel mode the Flex Channel mirrors

the currently selected input channel. The Flex Channel encoder follows the current Encoder Assignment mode (Gain,
Pan, HPF, or an Aux Send). The Flex Channel LCD shows the
current channel name or encoder parameter in green.
In Flex Channel mode, the Flex Channel is latched (or locked)
on a channel. Selecting a different channel or banking to a different bank or type of channels will not change the assignment
of the Flex Channel, letting you keep constant control over
your most important signal.
To latch the Flex Channel from the console:
1 Select the input or output channel you want assigned to the
Flex Channel.

Press the Select/Latch switch on the Flex Channel. A dialog

appears on-screen asking you to confirm the assignment.

Double-press the Select/Latch switch to latch that channel

and clear the confirmation dialog in one action.
3

Press the Flex Channel Select/Latch switch again (or click

Latch on-screen) to confirm the assignment. Click Cancel to

cancel the assignment.

The Flex Channel LCD shows red text when latched.
To latch the Flex Channel on-screen:

Right-click on the desired channel and choose

Latch <channel>.

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VENUE SC48 Guide

To return to Selected Channel mode:

Double-press the Flex Channel Select/Latch switch. The
(former) channel assigned to the Flex Channel becomes the selected channel in the ACS, and the Flex Channel reverts to Selected Channel mode.

or
Right-click the currently latched channel on-screen and
choose Unlatch <channel>.

Using Input Direct

Input Direct mode lets you completely bypass the built-in dynamics and EQ processing, and all inserts on input channels
and FX returns. 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 or FX return:
1

Target the channel by pressing its Select switch.

Go to the Inputs page.

3 Click the Input Direct button in the Config section of the Inputs page for the selected channel. The button flashes to indicate Input Direct mode is active.

Input Direct button

Chapter 8: Inputs and Input Routing 75

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VENUE SC48 Guide

Chapter 9: Outputs and Output Routing

This chapter shows how to do the following:

Configure and name Mains, outputs and busses
Assign outputs and busses to hardware outputs in the
Patchbay
Route outputs to Mains, Groups, Aux Sends, and Matrix
mixers

Auxes

Up to 16 Aux busses are available. The number of available

Aux busses is set as part of the system Aux/Group bus configuration. See Configuring Aux and Variable Group Busses on
page 78.
Aux bus outputs can be controlled from the Output faders.

Using plug-in inserts, and using Graphic EQ on outputs

Assign and route Direct Outputs
Adjust output channel parameters
Use VCAs

Configuring Outputs
The following types of output busses are available on VENUE
SC48: Mains, Groups (or Variable Groups), Auxes, and Matrixes.
Mains

The Main busses can be configured in LR+M or LCR formats. For more information, see Configuring the Main Busses on page 78.
The Main busses are controlled from the dedicated Mains controls and fader in the Output section.
Groups

Eight Group busses are available. These Group busses can be

globally configured to be mono or stereo as part of the system
Aux/Group bus configuration. See Configuring Aux and
Variable Group Busses on page 78.
Group outputs can be controlled from the faders and encoders
in the Output section.
See Chapter 10, Groups.

For more information, see Chapter 11, Aux Sends and

Variable Groups.
Variable Groups

When the system is in Variable Groups mode, the eight Group

busses operate in much the same way as Aux busses. When set
to Variable Groups mode, the Output section has 16 available
Aux busses and eight available Variable Group busses, letting
you send independently controllable signals to all 24 busses in
the system.
Variable Groups mode is set as part of the system Aux/Group
bus configuration. See Configuring Aux and Variable Group
Busses on page 78.
Matrix Mixers

Eight Matrix mixers are available. Each Matrix mixer is a discrete 12-in/1-out (mono) submixer, with the ability to link adjacent Matrix mixers into stereo pairs. Matrix mixer input
sources can include up to 12 inputs, selectable from any combination of Aux, Group or Mains busses plus up to 8 unique
Input Channels, FX Returns or hardware inputs.
User Source input assignments are stored in Snapshots as
part of their distinct Matrix data type.

Pre- and post-fader tap for Matrix sources are assigned in the
Pickoffs tab of the Options page.
Matrix outputs are controlled from the output faders; matrix
inputs are controlled from the encoders when a particular matrix is selected.
See Chapter 12, Matrix Mixers.

Chapter 9: Outputs and Output Routing 77

Configuring the Main Busses

Select a bus configuration.

The Main busses can be configured to operate as either:

LR plus Mono Pans signals between the left and right channels to the LR bus, and sums signals to a separate mono bus.
LCR Pans signals across left, center and right channels.

Audio may be interrupted or may change levels during this

configuration procedure.
To configure the Main busses:
1

Put the system into Config mode.

Go to the Options page and click the System tab.

Click Edit.

Selecting a bus configuration

5 Click Apply. The system restarts with the new bus configuration.

Data Cleared When Changing Bus Configurations

When the bus configuration is changed, all settings are cleared

(or set to default) from the current console settings and from
all stored snapshots, for all Groups.
Linking Aux Busses

Setting the Main bus configuration

4

Select the configuration for the Main Busses.

Click Apply. The system restarts with the new Main bus configuration.

You can link odd/even bus pairs and pan input signals into
those bus pairs. Aux bus pairs are linked on a global basis, and
appear as linked on all channels. For information on linking
Auxes, see Linking Aux Busses for Stereo Operation on
page 93.

Naming Channels

Configuring Aux and Variable Group

Busses

Output channel names can be changed from the Outputs page

or from the Patchbay.

Auxes and Groups share the available system busses. Configuration options include the following:

To change the name of an Output channel:

16 Auxes + 8 Mono Groups Divides the available system busses between 16 mono Aux busses and 8 mono Group busses.

8 Auxes + 8 Stereo Groups Divides the available system busses between 8 mono Aux busses and 8 stereo Group busses.

Go to the Outputs page or the Patchbay page.

Target the channel whose name you want to change by pressing its Select switch or selecting it on-screen.
Double-click the channel name.

16 Auxes + 8 Variable Groups (24 bus) Divides the available

system busses between 16 mono Aux busses and 8 Variable

Group busses (enables Variable Groups mode).
Audio may be interrupted or may change levels during this
configuration procedure

Changing the name of an Output channel in the Outputs page

4

Type a new name and press Enter on the computer keyboard.

To configure the Aux/Group/Variable Group busses:

1

Put the system into Config mode.

Go to the Options page and click the System tab.

Click Edit.

When naming channels in the Patchbay, double-click the

channel name next to the grid to edit text; press Tab on the
keyboard to go to the next channel and Shift+Tab to go to
the previous channel.
When naming individual Aux and Variable Group outputs, the name appears in the individual Aux and Var
Group (if applicable) display on the Inputs page, on the
Outputs page, and in the Patchbay page.

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VENUE SC48 Guide

Assigning Busses to Hardware

Outputs

Routing Group Outputs to the

Main Busses

Mains, Groups (or Variable Groups), Auxes, and Matrix mixer

outputs can be assigned to any hardware output on the system.
Available output destinations include:

You can route Group outputs to the Main busses from the console or on-screen.

Stage audio outputs

FOH (local) audio outputs
Pro Tools recording inputs

To route a Group output to the Main busses from the ACS:

Press the Groups switch in the Output Fader assignment section to assign control of Group levels to the faders.

To assign a bus or mixer output to a hardware output from the

Patchbay:
1

Go to the Patchbay page and click the Outputs tab.

To the left of the channel grid, click the Mains, Mtx (Matrix) ,

Aux or Grp (Groups) tab.

3 Click in the channel grid to assign a bus or Matrix mixer output (listed on the left) to a hardware output (listed across the
top).

Groups switch

Assigning Groups to the Output faders

2 Select each Group that you want to assign to the Main busses
by pressing their Select switches.
3 In the Bus Assigns section, press the LR (left and right) or
C/Mono (center/mono) switch so that it is lit.

Assigning an output in the Patchbay Outputs page

The Patchbay Outputs page shows the name of the bus or

mixer and its destination. The destination is also displayed
below the channel name in the Outputs page and Patchbay
Outputs page.

L-R

Mains

Stereo Pan
C/M

Groups
Bus Assign switches
4

Move the channels fader to set the Group output level.

Output name and destination in the Patchbay Outputs page

Chapter 9: Outputs and Output Routing 79

Group Routing Indication on Output Encoders

Output encoder indicator LEDs indicate Main bus assignments as follows:

Click to
assign

Off Group routing to Mains is turned off.

Click to
go to the
Plug-In
Rack

Yellow Group output is routed to the Mains LR bus.

Green Group output is routed to the Mains C/M bus.
Red Group output is routed to both the Mains LR bus and the

Mains C/M bus.

Assigning a Plug-In Insert in the Outputs page

The name of the plug-in insert appears in the on-screen

Plug-In Insert button.
For complete instructions on plug-ins, see Chapter 19,
Plug-Ins.

To route a Group output to the Main busses on-screen:

1 Go to the Outputs page and select the channel fader strip tor
the Group you want to route to the Main busses.
2 Click the Bus Assign buttons on-screen to toggle the bus assignment for the selected Group.

Activating and Bypassing Inserts

After plug-in inserts are assigned to an Output bus, they can
be activated and bypassed on-screen using the corresponding
Output page controls.

Inserting the Built-In Graphic EQs on

Output Busses
A built-in 31-band Graphic EQ can be inserted on any of the
following Output bus types: Mains, Groups, Auxes, and Matrixes. A maximum of 24 Graphic EQs are available, depending
on the how they are configured in the System Configuration
settings.
Assigning a Group output to the Main busses from the Output page

Using Inserts on Output Busses

You can use software plug-in inserts and graphic EQ on Mains,
Groups, Auxes, and Matrixes.
If your SC48 includes an IO16 option card, you can also use
hardware inserts. See Chapter 20, Hardware Inserts.

Using Plug-In Inserts on Output Busses

For more information on configuring and using Graphic EQs,

see Graphic EQ for Outputs on page 146.
To insert a Graphic EQ on an Output bus:
1

Target the bus by pressing its Select switch.

In the Outputs page, click the 31-Band Graphic Equalizer tab.

Click the Graphic EQ pop-up menu and choose an available

mono or stereo Graphic EQ. The entire Graphic EQ is displayed on-screen.

You can insert plug-ins on Output busses directly from the

Outputs page.

GEQ
pop-up

To insert a plug-in on an output bus:

Graphic
EQ
Faders

Go to the Outputs page and target the bus where you want to
insert the plug-in.

2 In the Inserts section of the Outputs page, do one of the following:

Click one of the four Inserts pop-up menus and choose a

plug-in directly from one of the Plug-In Rack submenus.
or
Click one of the four Inserts buttons to go to the Plug-In
Rack, and route the signal to the plug-in using Plug-In
Rack controls.

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VENUE SC48 Guide

Output bus selected (Group 1)

Graphic EQ displayed in the Outputs page

Output Solo

Adjusting Output Controls

Outputs are controlled from the Output faders, encoders and
switches.

To control the solo status of an output bus:

1

In the Output section, press an AFL switch to toggle the solo

status of the corresponding output bus.

Output Levels

You can set Output banking to follow AFL selection, and

vice versa. For more information on Solo bus operation, see
Chapter 15, Solo and Monitor Busses.

To control output levels from the Output faders:

1

Press one of the switches in the Output section.

Choose the output fader bank you wish to control.

Output Mute
Output
Fader
assignment
switches

To control the mute status of an output bus:

1

Press one of the following switches in the Output section:

2 In the Output section, press a Mute switch to toggle the mute

status of the corresponding output bus.

Output Fader controls

2

Move a fader to change the level of its assigned output.

To create a level offset between linked Aux bus output faders:

Press one of the switches in the Output Fader assignment

section.

Do one of the following:

Touch one linked bus output fader while moving the
other.
Hold the Start (Win) key on the keyboard and move one
linked Aux bus fader on-screen.

The offset between the faders is maintained until the offset

causes a fader to reach its maximum or minimum value.

Output Polarity (Phase) Invert

The polarity of any output bus signal can be inverted. With
stereo outputs (stereo Group busses) only the left channel is
inverted.

For more information on Mute operation, see Chapter 16,

Muting and Mute Groups.

Output Delay
A variable delay can be applied to any of the Main busses (L, R
and C/M), Aux bus outputs, and Matrix mixer outputs.
To apply delay to an Aux bus:
1

Target the Aux bus by pressing its Select switch.

Press the Channel Control Input switch.

Press the Delay rotary encoder to engage the delay.

Adjust the delay value by turning the Delay rotary encoder.

The amount of delay available depends on the type of output,

as follows:
Up to 500 ms for Mains and Matrix mixers
Up to 250 ms for Aux Sends

To invert the polarity of an output bus:

1

Target the bus by pressing its Select switch.

2 Press the polarity inversion () switch in the ACS Input section. The switch lights when the polarity is inverted.

Chapter 9: Outputs and Output Routing 81

Adjusting Main Bus Controls

Main Bus Output Levels
The Main bus output levels are controlled from the single
Mains Fader located to the right of the Output faders.

Main Bus Mute

The mute status of the Main busses is controlled from the
Mute switch located above the Mains Fader. When at least one
of the Main busses is muted while others (unlinked) are not,
the Mains mute switch flashes.
To control the mute status of the Main busses:

Select

In the Outputs page, click the on-screen channel Link buttons for any combination of Left, Right, or Center/Mono output strips to assign control of the corresponding busses to the
Mains Fader.

Mute

Press the Mute switch to toggle the mute status of the assigned busses.

Fader

Main Bus Delay

A variable delay (from 0 to 500 ms) can be applied to any of
the Main busses.
To apply delay to a Main bus:
Mains Fader and controls in the Output section

The Left, Right, and Center/Mono busses can be controlled independently or in tandem. You can create an offset between
any of the Main bus levels, and it will be preserved when controlling any combination of the Main busses. The offset between the busses is maintained until at least one of the busses
is minimized or maximized.
Linking Mains

You can link any of the three Mains faders for grouped-control
of level and mute.
To control the Main bus output levels:
1 In the Outputs page, click the on-screen channel Link buttons
for any combination of Left, Right, or Center/Mono output
strips to assign control of the corresponding busses to the
Mains Fader.

Link

1 Target the Main bus where you want to apply delay by repeatedly pressing the Select switch in the Mains section, or by selecting it on-screen.
2

Press the Channel Control Input switch.

Press the Delay encoder to enable delay.

Adjust the Delay value by turning the on-screen Delay rotary

encoder.

Main Bus Center Divergence Options

When the Main busses are set to LCR (Left-Center-Right)
mode, the Center Divergence setting determines amount of
center-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 center).
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

Mains fader Link selectors in the Outputs page

2 Move the Mains fader to change the level of the assigned busses.

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VENUE SC48 Guide

Go the Options > Busses tab.

2 In the Panning section, click in the Center Divergence field

and drag up/down to increase/decrease the value (or type in a
new value).

Press Enter or Return on your keyboard to confirm the setting.

Main Bus Automatic Delay Compensation

VENUE systems automatically compensate for delays incurred
by the use of Groups and insertion of plug-ins in the signal
path to the Main busses. Delays are automatically applied to
signals arriving at the Main busses from multiple destinations
to maintain the proper time alignment.

Select the pickoff point for the Direct Output by clicking the
letter to the right of the channel or bus name and choosing
from the pop-up menu.

Monitoring the Main Mix

You can send the Main mix (the signal present on the Main
busses) to the Monitor bus for routing to the monitor bus for
headphones. See Sending the Main Mix to the Monitor Bus
on page 121.

Selecting a Direct Output pickoff point in the Patchbay Directs page

Direct Outputs

All input channels and output busses feature Direct Outputs.

Available destinations for Direct Outputs include:
Stage audio outputs
FOH audio outputs
Pro Tools recording inputs
Plug-ins
Each output destination may be fed by only one Direct Output
signal (multiple Direct Output signals cannot be routed to a
single output).

On the console, press the Channel Control Input switch.

Press the Direct Out encoder so that its On indicator LED

lights.

Turn the Direct Out encoder to set the Direct Output level.

Up to 12 dB of gain can be added to the Direct Output signal.

Direct Output level is displayed in the Selected Channel display, and controls are provided on-screen in the Patchbay, Inputs, and Outputs pages.

Direct Output Pickoff Points

The pickoff points for the Direct Output signal are selected in
the Directs page of the Patchbay. The following pickoff points
are available for each type of channel or bus:
Pickoffs for Direct Outs

To route a channel or bus to a Direct Output:

Channel Type

Available Pickoff Points

Input

Top of channel
Insert return
Pre/post fader

Target the channel or bus you want to route to a Direct Output by pressing its Select switch.

FX Returns

In the Directs page of the Patchbay, click the tab for the
channel or bus type you are routing.

Top of return
Pre/post fader

Outputs

Click in the channel grid to route the channel or bus (listed

on the left) to an available output (listed across the top).
3

Top of bus
Pre fader
Post fader

Configuring Direct Output Pickoff Points

To configure the Direct Output pickoff point for Inputs:
1

Go to the Options page and click the Pickoffs tab.

Under Input Strip Fader Pickoff Point, click Pre-Fader or

Post-Fader.
2

Assigning a Direct Output in the Patchbay Directs page

Chapter 9: Outputs and Output Routing 83

Matrix Mixers
Eight Matrix mixers are available for sending up to eight
mono mixes of input channels and busses to any available
hardware output or bus-fed plug-in.
Each Matrix is a 12-in/1-out mono mixer with assignable input sources including Group busses or Aux busses, the 3 Main
busses (LCR or LR+M) and any of up to 8 user-selectable
channels. Matrix input levels are controlled from the Output
encoders when a Matrix is selected. Adjacent Matrix inputs
can be linked or unlinked.
Odd/even pairs of Matrix mixers can be linked to form stereo
Matrix output busses. The master output of each Matrix mixer
is controlled from the Output faders.

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
currently assigned VCAs are doing to channels and busses at
all times.
On-Screen VCA Indication

VENUE displays effective gain as a second, transparent fader

cap on-screen in the fader displays of both the Inputs and Outputs pages.
Selected Channel When the currently selected channel is un-

See Chapter 12, Matrix Mixers.

der VCA control, the net effect of all its assigned VCAs is
shown in the form of a transparent fader cap.

Assigning and Using VCAs

VCA controls emulate the operation of traditional Voltage
Controlled Amplifiers (VCAs). Up to eight VCA faders are
available for remote control of Input Channel and FX Return,
or Output channel fader gain.

Channel level

VCAs control level of the assigned channels only. They do

not act as a summing output bus.

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 belonging to several VCAs is limited to +12 dB.

Assigning Channels to VCAs

Effective gain (VCAs)

Effective gain (VCA contribution) shown on the selected channel

Inputs and Outputs Pages In the Inputs and Outputs pages,

red ghost fader caps appear below the fader displays of
channels that are currently assigned to one or more VCAs.

To assign channels to VCAs:

1

Press the VCAs switch in the Output faders section.

Select the VCA you want to target for membership assignment.

Press the Multi-Assign switch to the right of the Output section.

3

Press the Select switches on the Input Channels, FX Returns,

or Output channels you want to assign to the VCA.
4

Press the flashing Multi-Assign switch to confirm the assignment, or press the Cancel switch to cancel the assignment.
5

Channel levels
Effective
gain (VCAs)

Effective gain (VCA contribution) shown in the on-screen fader

displays

The opacity of the ghost caps vary with the actual VCA levels:
Lighter caps indicate smaller amounts of VCA gain.
Brighter caps indicate larger amounts of VCA gain.

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VENUE SC48 Guide

Turning Channel VCA Indication On and Off

By default, channel VCA indication is on. You can turn off

VCA indication in the Options > Interaction page.

To mute the members of a VCA:

Press the Mute switch on the VCA channels whose members
you want to mute. The Mute LEDs on channels assigned to the
VCA flash to indicate they are implicitly muted by the VCA.

VCA Spill

Show VCA Contribution

Displays settings in the Options > Interaction page.

You can spill a VCA to have only its assigned channels

banked to the Input section. VCA Spill lets you quickly access
only those channels assigned to a specific VCA and immediately focus on those channels, without needing to search
through the input fader banks.

To turn channel VCA indication off or on:

1

Go to the Options > Interaction page.

In the Displays section, click to enable (or disable) Show

VCA Contribution.

Showing VCA Members

VENUE SC48 lets you quickly view members (assigned channels) for Groups, VCAs and Mute Groups.
To view VCA membership:
1

Press the VCA switch to bank the Output faders to VCAs.

Press and hold the Default (Alt) switch, then press the Multi
Assign switch in the Output section. The Multi Assign switch
LED lights to indicate Multi Assign mode.

VCA assignments are shown in each channel strip LCD with a

flashing number (the number indicates the VCA to which each
channel is assigned).
To exit Show VCA Members mode:

Press the Multi Assign switch or the Cancel button.

To spill a VCA:
1

Select the VCA output fader bank.

Double-press a VCA Select switch to spill its members across

the input faders.

The selected VCA Select switch LED flashes, as do the current

input Bank (A-D) or FX Return (1-8) switch. Any Bank Safed
channels are hidden (though their Bank Safe status is unaltered).
If the VCA contains fewer than 16 members the channels are
right-justified within the input fader bank, in order to bring
channels as close as possible to the center of the console. Unused channel strips are left blank and inactive.
If the VCA contains more than 16 members only the first 16
members are shown.
To cancel VCA Spill, do any of the following:

Press or double-press the Select switch on the currently

spilled VCA.
Press any Bank (A-D) switch.
Press the FX Returns 1-8 switch.

Using VCAs
To adjust the levels of VCA members:

Press the VCAs switch to assign control of the VCAs to the

Output faders.

Move the fader for the VCA whose members you want to adjust.
2

Press a GEQ switch.

In the on-screen dialog, click Exit VCA Spill.
Selecting Other VCAs While Spilled

Selecting another VCA while spill mode is active automatically spills that VCA.

To solo the members of a VCA:

Press the Solo switch on the VCA channels whose members
you want to solo so that the Solo switch is lit.

Input channel solo mode (PFL or AFL) follows the current setting on the Options > Busses page.
Input channel solo mode (PFL or AFL) follows the current
setting on the Options > Buses page.

Chapter 9: Outputs and Output Routing 85

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VENUE SC48 Guide

Chapter 10: Groups

This chapter shows how to do the following:

To route channels to any number of Group busses:

Configure Group busses

Route Groups

Adjust Group bus parameters

Target one or more channels.

In the Bus Assigns section, press any of the Group switches

so that they are lit.

Configuring Group Busses

The Output section has 8 available Group busses. Group outputs can be assigned to the Main Output busses, to available
bus-fed plug-ins, to Matrix mixers, and to any hardware outputs on the systems.
Group busses can be globally configured to be mono or stereo
as part of the Aux/Group bus configuration. See Configuring
Aux and Variable Group Busses on page 78.
For information on using Variable Groups, see See
Chapter 11, Aux Sends and Variable Groups.

Groups 18
Bus Assign switches to assign Groups to Mains

Routing Group Outputs to the Main

Busses
You can route Group outputs to the Main busses from the ACS
or on-screen.
To route a Group output to the Main busses from the ACS:

For information on routing input channels and FX Returns to

Groups, see Routing Channels to the Mains and
Groups Busses on page 67.

Press the Groups switch in the Output Fader assignment section to assign control of Group levels to the faders.

Routing Inputs to Group Busses

To route multiple channels to a single Group at a time:

Press the Groups switch to bank the Output faders to the

Groups busses.

Groups switch

Press the Select switch in the Output strip for the Group
(18) to which you want to assign channels.

Assigning Groups to the Output faders

Press the Multi-Assign switch near the Output encoders. The

Multi Assign and output Select switches flash.

Press the Select switch on the channels you want routed to

the selected Group.

2 Select each Group that you want to assign to the Main busses
by pressing their Select switches.

In the ACS Bus Assigns section, press the LR (left and right)
or C/Mono (center/mono) switch so that it is lit.

Press the Multi Assign switch again to confirm the action.

or

Select another Group to confirm the current assignment but

remain in Multi Assign mode to assign channels to the newly
targeted Group bus.

L-R

Mains
C/M

Bus Assign switches to assign Groups to Mains

Chapter 10: Groups 87

To route a Group output to the Main busses on-screen:

To cancel Group Spill, do any of the following:

Press or double-press the Select switch on the currently

spilled Group.

Go to the Outputs page and select the Group you want to

route to the Main busses.

Press any Bank (A-D) switch.

Click the Bus Assign buttons on-screen to toggle the bus assignment for the selected Group.
2

Press the FX Returns 1-8 switch.

Press a GEQ switch.
In the on-screen dialog, click Exit Group Spill.
Selecting Other Groups While Spilled

Selecting another Group while spill mode is active automatically spills that Group.
Special Cases with Spill
Assigning a Group output to the Main busses from the Output page

Managing Group Bus Assignments

To help manage Groups, the following sections explain how
you can spill, view, copy (duplicate) and reset Groups and
Group bus assignments.

Group Spill
You can spill a Group to have only its assigned channels
banked to the Input section. Group Spill lets you quickly access only those channels assigned to a specific Group and immediately focus on those channels, without needing to search
through the input fader banks.
To spill a Group:
1

Select the Group output fader bank.

Double-press a Group Select switch to spill its members

across the input faders.

The selected Group Select switch LED flashes, as do the current input Bank (A-D) or FX Return (1-8) switch. Any Bank
Safed channels are hidden (though their Bank Safe status is
unaltered).
If the Group contains fewer than 16 members the channels are
right-justified within the input fader bank, in order to bring
channels as close as possible to the center of the console. Unused channel strips are left blank and inactive.
If the Group contains more than 16 members only the first 16
members are shown.

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VENUE SC48 Guide

Faders

If you are touching a fader at the same time as you invoke

Group Spill, that fader may be taken off-line. Let go of the
fader to bring it back online.

Viewing Group Bus Assignments

You can view Group bus assignments from the Input section of
the console or from an on-screen list of Group members.
Viewing Group Bus Assignments in the Input
Section
To view Group membership on the console:
1

Press the Groups switch to bank the Output faders to Groups.

Press and hold the Default switch, then press the Multi Assign switch in the Output section.

Group numbers are shown (flashing) in each channel strip

LCD; the number indicates the Group to which each channel is
assigned.

Viewing Group Bus Assignments On-Screen

Click the Input Assign pop-up menu at the bottom of the

Members list, choose Replace With Mix From, then choose the
Group whose assignments you want to copy to the currently selected bus.
2

When a Group bus channel is targeted on-screen, its members

are shown in a list on the right side of the Outputs page.

Members

Pop-up
Copying input assignments between Groups

Resetting Group Bus Assignments

You can remove input assignments from a Group on-screen.
To remove an input assignment from a Group bus:
1 Select the Group bus you want to change so that its members
are displayed on-screen.

Currently selected output (Group)

Group members shown in the Outputs page

Copying Assignments Between Groups

You can copy the current input assignments from one Group
bus to another. If the Groups are stereo, assignments can be
copied from other linked busses. This lets you quickly duplicate monitor mixes.

In the list of Group bus members, right-click the input assignment you want to remove and choose Unassign.

To remove all input assignments from a Group bus:

1 Select the Group bus you want to change so that its members
are displayed on-screen.

Click the pop-up menu at the bottom of the Members list and
choose Reset Mix.

Copying Group bus assignments overwrites all the assignments on the destination Group bus.
To copy input assignments between Group busses:

Target the Group bus that you want to be the destination of

the copied assignments by selecting its on-screen channel
strip.

Click

Chapter 10: Groups 89

Group Bus Signal Flow Options

Routing Signals to a Stereo Group Bus

Configuration

Routing Signals to a Mono Group Bus

Configuration

When configured as stereo busses, the eight Groups can be fed

as 8 true stereo busses or (in Expert mode only) as 8 dual
mono busses.

When configured as mono busses, the eight Groups can be fed

as 8 unlinked mono busses or up to 4 linked odd/even bus
pairs.

Stereo Busses
To use stereo Group busses:

Unlinked Mono Busses

To use unlinked mono Group busses:

Make sure the Group busses are configured as mono busses.

See Configuring Aux and Variable Group Busses on page 78.
1

Make sure the Group busses are configured as stereo busses.

See Configuring Aux and Variable Group Busses on page 78.

When routing channels to any of the Group busses, make

sure the Stereo Pan switch is lit yellow.

When working with stereo Groups in Simple Mode, the

Stereo Pan switch is always lit to indicate all Groups
operate in true stereo.

While routing channels to Group busses, make sure the Stereo Pan switch is off.

The Group switches in the ACS Bus Assigns section light green
to indicate mono operation. In this configuration, input signals are handled as follows:
Mono Input Signals Contributing mono signals are summed to

the mono Group bus. Any pan information from mono input
channels feeding the bus is ignored.

Dual Mono Busses

Dual mono busses may only be used in Expert Mode. See Simple and Expert Operational Modes on page 91.

Stereo Input Signals Contributing stereo signals are summed

Adjusting Group Bus Output Controls

to the mono Group bus with no attenuation. The balance and

width information from each stereo input channel is ignored.

Group Bus Output Levels

Linked Odd/Even Bus Pairs

Group bus levels are adjusted just like other Output busses
(bank to Groups, adjust the fader). For more information, see
Adjusting Output Controls on page 81.

To use linked mono Group bus pairs:

1 Make sure the Group busses are configured as mono busses.
See Configuring Aux and Variable Group Busses on page 78.

While routing channels to Group busses, press the Stereo

Pan switch so that it lights yellow.

The Group switches in the ACS Bus Assigns section and the
Stereo Pan LED in the channels Bus Assign indicator light yellow to indicate stereo operation. In this configuration, input
signals are handled as follows:
Mono Input Signals Contributing mono signals are panned

across the linked odd/even Group bus pair. Pan information

from each mono input channel determines its pan position in
the bus pair.

Group Bus Output Pan

Group bus output pan is controlled from the Output encoders.
Groups-to-Mains assignment is displayed by the indicator
LED for each Output encoder, when Groups are banked to the
Output faders. The Output encoder Pan switch cycles the encoders and LCD to pan, balance and width parameters.
The pan controls adjust pan (when in mono Groups configuration) or stereo balance and width (when in stereo Groups
configuration) of the Group output to the Main busses only.
The Group outputs in the Patchbay are distinct left and right
channels.

Stereo Input Signals Contributing stereo signals are panned

To control mono Group output pan:

across the linked odd/even Group bus pair. Balance and width
information from each stereo input channel determines its
contribution to the odd and even sides of the bus pair.

Bank the Output faders to Groups.

Press the Pan switch in the Output encoder section once to

assign control of Group pan to the Output encoders.

Turn a rotary encoder to adjust the pan for the corresponding mono Group.

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VENUE SC48 Guide

To control stereo Group output balance and width:

1

Press the Pan switch in the Output encoder section.

Turn a rotary encoder to adjust the balance for the corresponding stereo Group.

To set the link status of individual mono Group busses on a

channel (Expert Mode only):
1

Make sure Stereo Group Panning is set to Expert Mode.

Press the Group Pan switch in the Output Encoder assignment section an additional time to assign Group width control
to the Output encoders.

Turn a rotary encoder to adjust the width for the corresponding stereo Group.

2 Select an input channel or FX return whose signal you want

to send to a Group bus. To select multiple channels, use the
Multi-Select switch next to the input faders.
3 In the Bus Assigns section, press the Stereo Pan switch. The
switch flashes yellow to indicate bus link mode.

Simple and Expert Operational Modes

When configuring Group busses, you can choose between two
operational modes that provide different levels of flexibility:
Simple mode and Expert mode.

Setting the Operational Mode

Press any of the Group switches to link or unlink the bus

pairs (12, 34, 56, or 78). The Group switch pairs flash yellow to indicate stereo linked, or flash green to indicate mono.

5 Press the flashing Stereo Pan switch to confirm the bus link
status for the selected channels.

Working with Stereo Group Busses

When configured as stereo busses, Groups can operate in the
following modes:

Put the system in Config mode.

Simple Mode In Simple Mode, all 8 Group busses function

only as true stereo busses.

Go to the Options page and click the Busses tab.

Expert Mode In Expert Mode, any of the 8 stereo Group busses

To switch between Simple mode and Expert mode:

Under Stereo Group Panning Operation, select the mode you

want to use ( Simple or Expert).
3

can be set to act as true stereo or as dual mono busses, on a per

channel basis.
To set the link status of individual stereo Group busses for a
channel (Expert Mode only):
1

Make sure Stereo Group Panning is set to Expert Mode.

2 Select an Input Channel or FX Return whose signal you want

to route to a Group bus. To select multiple channels, use the
Multi-Select switch next to the input faders.

Setting the Group bus operational mode

Working with Mono Group Busses

When configured as mono busses, Groups can operate in the
following modes:
Simple Mode

In Simple mode, either all Groups on a channel are mono, or

all Groups on a channel act as bus pairs.

In the ACS Bus Assigns section, press the Stereo Pan switch.
The switch flashes yellow to indicate bus link mode.

4 Press any of the Group switches (18) to set the corresponding bus to stereo or dual mono. The Group switches flash yellow to indicate stereo, or flash green to indicate dual mono.
5 Press the flashing Stereo Pan switch to confirm the bus link
status for the selected channels.

To use dual mono Group busses (Expert Mode only):

Expert Mode

In Expert mode, any of the 4 bus pairs can be stereo linked individually while leaving the other busses as mono, on a per
channel basis.

Make sure the Group busses are configured as stereo busses.

See Configuring Aux and Variable Group Busses on page 78.
Make sure the link status of the Group busses you want to use
is set to dual mono.
When routing channels to a dual mono Group bus, the Stereo
Pan switch will be off and the Group switch will light green to
indicate dual mono operation.

Chapter 10: Groups 91

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Chapter 11: Aux Sends and Variable Groups

This chapter explains the following Aux Send and Variable

Group operations:

4 Click the checkboxes above any of the bus pairs to link or unlink each pair.

Configuring Aux Send busses

Routing to Aux Sends
Adjusting Aux Send parameters
Using Variable Groups
Managing Auxes
Auxes and Variable Groups (Var Groups) can be mono, or
linked to form stereo pairs. Auxes and Variable Groups can be
fed by input channels and FX returns
Auxes and Var Groups can be sent to hardware outputs in the
Patchbay. Aux Send level controls provide a gain range of
INF to +12 dB.

Bus pair checkboxes in the Options > Busses page

5

Configuring Aux and Variable Group

Busses
The number of available Aux and Variable Group busses are
set as part of the overall Aux/Group bus configuration. See
Configuring Aux and Variable Group Busses on page 78.

Click Apply.

When Aux busses are linked, signals are handled as follows:

Mono Input Signals Contributing mono signals are panned

across the linked odd/even Aux bus pair.

When the Follows Channels Pan option is off, panning of
the mono signal to the bus pair is controlled by the Aux
Pan control (the even-numbered send).

When the system is set to Variable Groups mode, the 8 Group

busses are replaced by Variable Group busses, which operate
in much the same way as Aux busses. When set to Variable
Groups mode, 16 Aux and 8 Variable Group busses provide up
to 24 busses.

Stereo Input Signals Contributing stereo signals are panned

Linking Aux Busses for Stereo Operation

across the linked odd/even Aux bus pair. Stereo width information from the input channel is applied to the bus signal.

When working with Aux and Variable Group busses, you can
link odd/even bus pairs and pan input signals into those bus
pairs.

When the Follows Channels Pan option is off, balance of

the stereo signal to the bus pair is controlled by the Aux
Pan control.

To link Aux and Var Group bus pairs:

1

Put the system into Config mode.

Go to the Options page and click the Busses tab.

Click Edit.

When the Follows Channels Pan option is on, the pan information from each mono input channel determines its
pan position in the bus pair.

When the Follows Channels Pan option is on, the balance from
each stereo input channel determines its contribution to the
odd and even sides of the bus pair.

Chapter 11: Aux Sends and Variable Groups 93

Selecting Aux Send Pickoff Points

The system lets you set the pickoff point on Input Channels or
FX Returns channels for Aux Sends. Pickoff points are set for
each Aux bus independently. If any Aux busses are linked, the
pickoff point is set for the linked bus pair.
Each channel can be sent to an Aux either pre- or post-fader.
Pre-fade offers several pickoff choices, as follows:
Pre-EQ Post-HPF and pre-EQ, Dynamics and Channel Inserts,

Routing Inputs to Aux Busses

You can send signals from any Input Channel or FX Return to
any number of Aux busses with the input encoders, Channel
Control section, Output section, or on-screen.
To route channels to Aux sends using the input encoders:
1 To access Aux Sends on the input channel encoders, press an
Encoder assign Sends switch 12 through 1516.

pre-Mute, and pre-Fader. The Aux Send is not affected by the

channel mute.
Pre-Mute Post-HPF, post-EQ, Dynamics, and Channel Inserts,

Encoders

pre-Mute, and pre-Fader. The Aux Send is not affected by the

channel mute.
Pre-Fader Post-HPF, post-EQ Dynamics, and Channel Inserts,

Aux
Sends

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

Go to the Options page and click the Busses tab.

Encoder assignment switches for input channels

For each channel you want to assign to the selected Aux Send
bus, press its channel encoder so that its On indicator LED
lights.

2
Pickoff
point
options

The first press of an Aux Send encoder assigns level control of the odd-numbered send. The switch lights green to
indicate an odd-numbered selection.

Setting Aux bus pickoff points

The second press of an Aux Send encoder assigns level

control of the even-numbered send. The switch lights yellow to indicate an even-numbered selection.

Select a Pre pickoff point for any of the busses or linked bus
pairs by clicking the Pre-EQ, Pre-Mute, or Pre-Fader button.
2

To activate a Pre pickoff point for an Aux Send:

1 Go to the Inputs page and target the channel with the pickoff
point you want to activate.
2

Click the corresponding Pre button in the Aux Sends section.

Activating Pre pickoff for an Aux Send (Inputs page shown)

When the Pre button is lit, the selected Pre pickoff point is
used. When the Pre button is off, the pickoff point is
Post-Fader.

Classifying Auxes for Snapshots

You can classify Aux Sends and Variable Groups as monitor
sends (Mon) or as effects sends (FX) for the purposes of
scoping and safing each type separately in snapshots. See
Classifying Aux Sends on page 199.
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VENUE SC48 Guide

To set the Aux Send level, do either of the following:

Turn the encoder on each channel.
Press the Flip to Faders switch, then adjust the channel
fader.

To route channels to Aux Sends busses using the Channel

Control section:

Target the first channel you want to route by pressing its Select switch.
1

Press and hold the Multi-Select switch next to the input faders, then press the Select switches on the other channels you
want to route to the Auxes.
2

In the Channel Control section, press the Aux Sends 18 or

Aux Sends 916 switch to bank the Channel Control encoders
to those Auxes.

Press the Auxes 18 or 916 switch to bank the Output faders

to those Aux busses.

2 Press the Select switch in the Output strip for the Aux Send
to which you want to assign channels.

Press the Multi-Assign switch near the Output encoders. The

Multi Assign and output Select switches flash.

Press the Select switch on the channels you want routed to

the selected Aux Send.

Encoders
1

To route channels to Aux Sends from the Output section:

Press the Multi Assign switch again to confirm the action.

or

8
Select another Aux Send to confirm the current assignment
but remain in Multi Assign mode to assign channels to the
newly targeted Aux bus.

Adjusting Aux Send Controls

You can adjust Aux Sends from the input encoders, from
Channel Control, and on-screen.

Using the Input Encoders

To control Aux Sends using the input encoders:

Aux Sends 18
Aux Sends 916

Press an Encoder assign Send switch (12/1516) to bank

that Aux Send to the input encoders.

Channel Control

To turn a send on or off:

Press the Channel Control encoder that corresponds to the

desired Aux Send bus so that its On indicator LED lights.

Press the input encoder for the Aux on the desired channel to
toggle that send on/off.

The first press of an Aux Send switch assigns level control

of the odd-numbered send. The switch lights green to indicate an odd-numbered selection.

When Aux busses are linked, input signals are panned across
the bus pair. Panning can be controlled from the Input encoders or from the ACS Aux Sends section.

The second press of an Aux Send switch assigns level control of the even-numbered send. The switch lights yellow
to indicate an even-numbered selection.

To control panning of Aux bus pairs from the Input section:

Turn the encoder to set the Aux Send level.

Press an Encoder assign Send switch (12/1516) to bank

that Aux Send to the input encoders.

The first press of the Aux switch assigns control of the

send level to the encoder. The switch lights green and the
encoder display shows the odd-numbered send.
The second press of the Aux switch assigns control of the
send pan to the encoder. The switch lights yellow and the
display shows a P before the odd-numbered send.
With the Aux switch lit, turn the rotary encoder on each Input Channel or FX Return to adjust the send pan.

Chapter 11: Aux Sends and Variable Groups 95

Using Channel Control

To pan a stereo linked Aux:

Channel Control lets you adjust Aux sends and send levels in
two banks, Aux 1-9 and Aux 9-16.
To access Auxes in Channel Control:
1

Select one or more channels.

2 Press the Aux Sends 1-8 or Aux Sends 9-16 switch in Channel
Control.

The Aux Sends 1-8 switch LED lights purple; the Aux Sends
9-16 switch LED lights teal (light blue). The LCD display identifies each send in the current bank ( 1-8 or 9-16).

Adjust the even-numbered encoder for that pair (labelled

with the letter P in front of the name of the Aux in the LCD).
For example, if Auxes 7 and 8 are stereo linked, Aux 8 encoder
will be labelled as P<Aux 7>; adjust encoder 8 ( P<Aux 7>) to
pan the send.

To control panning of Aux bus pairs from Channel Control:

1 Press the Aux Sends switch (1-8 or 9-16) in the Channel Control section to bank Channel Control to those Auxes. For
linked bus pairs:

Odd-numbered rotary encoders control send level

Even-numbered rotary encoders control send pan

Channel Control

Turn the even-numbered rotary encoders in the Aux Sends

section to adjust the corresponding send pan.

You can link the ACS Aux Sends section to follow AFL, letting you immediately access send controls for Auxes and
Variable Groups by soloing any Aux or Group output strip.
For more information, see Auxes Follow AFL and AFL Follows Auxes on page 118.

In

Aux 1

User

Aux 2 Aux 3 Aux 4 Aux 5 Aux 6 Aux 7 Aux 8

Input

Plug-in

EQ

Comp/Lim Exp/Gate Aux Sends 1-8 Aux Sends 9-16

Using Flip to Faders to Access Send Level and Pan

Simultaneously

You can use Flip to Faders mode to bring Aux level control to
the input faders while retaining control of Send pan from the
input encoders.

Aux Sends 18 switch

Aux Sends 916 switch

To access Aux Send level and pan simultaneously:

Assign the input encoders to Aux Sends by doing either of

the following:

Aux sends in Channel Control (Auxes 1-8 shown)

Press a Send switch in the Input Encoder Assignment section to assign the encoders to control level for the selected send.

To turn a send on or off:

Choose the desired bank of Auxes (1-8 or 9-16) by pressing

the corresponding Aux Send switch. When engaged:

Target an Aux bus by selecting it in the Output section.

The Aux Sends 1-8 switch lights purple.

The Aux Sends 9-16 switch lights turquoise (blue/green).
Press the encoder (1-8) for the desired Aux to toggle that
send on/off. While engaged, the indicator LED at the bottom of
that encoder LED ring lights.

Press the Flip to Faders switch, at the bottom of the Input

Encoder Assignment section. The input faders now control
and display level for the selected send, and the encoders display and control Send pan.

Setting Aux Send Pan to Follow Channel Pan

To adjust mono Aux send level:

Adjust the encoder for each Aux as needed.

To adjust stereo linked Aux send level:

Adjust the odd-numbered encoder for the desired pair of
Auxes. For example, if Auxes 7 and 8 are stereo linked, adjust
encoder 7 (labelled < Aux 7> in the LCD) to adjust send level.

Panning of the input signal can be set to follow the pan or balance values of the Input Channel or FX Return feeding the Aux
bus
To set the Aux Send pan to follow Channel pan:
1

Go to the Options page and click the Busses tab.

2 On any linked bus pairs, select the Follows Channel Pan option. This setting is applied globally to the corresponding Aux
Send.

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VENUE SC48 Guide

Routing Auxes and Var Groups to

Direct Outs, EQs, and Plug-Ins
You can send Auxes and Variable Groups to hardware outputs
and Direct Outs. You can also insert plug-ins and built-in
Graphic EQs on any Aux and Variable Groups bus. For details,
see the following:
Hardware Outputs See Assigning Busses to Hardware Out-

Resetting Aux Bus Assignments

You can remove input assignments from Aux bus output channels on-screen.
To remove an input assignment from an Aux bus:

Target the Aux bus output channel you want to change by selecting its on-screen channel strip.

puts on page 79.

2 In the list of member input channel assignments, right-click

the input assignment you want to remove and choose Unas-

Direct Outs See Direct Outputs on page 83.

sign.

Inserts See Using Inserts on Output Busses on page 80.

To remove all input assignments from an Aux bus:

Graphic EQ 3 See Inserting the Built-In Graphic EQs on Out-

put Busses on page 80

Target the Aux bus output channel you want to change by selecting its on-screen channel strip.

Click the pop-up menu at the bottom of the Members list and
choose Reset Mix.

Managing Aux Bus Assignments

Viewing Aux Bus Assignments
When an Aux bus output channel is targeted on-screen, its
members are shown in a list on the right side of the Outputs
page.

Copying Assignments Between Aux

Busses
You can copy the current input assignments from one Aux bus
(or Mains) to another bus of either type. If the busses are
linked, assignments can be copied from other linked busses.
This lets you quickly duplicate monitor mixes.

To view input assignments to an Aux bus:

1

Copying Aux bus assignments overwrites all the assignments on the destination Aux bus.

Go to the Outputs page.

2 Target an Aux bus output channel by selecting its on-screen

channel fader strip. Input channels routed to the selected bus
are displayed in the Members list on the right side of the page.

To copy input assignments between Aux busses:

Target the Aux bus that you want to be the destination of the
copied assignments by selecting its on-screen channel strip.

To go to any assigned input channel from the Outputs page:

Click the name of the input channel in the Members list.

Member
input
channels

Click the Input Assign pop-up menu at the bottom of the

Members list, choose Replace With Mix From, then choose the
Aux bus whose assignments you want to copy to the currently
selected bus.
2

Input assign
pop-up menu

Currently selected output

Aux bus assignments shown in the Outputs page

Copying input assignments between Aux busses

Chapter 11: Aux Sends and Variable Groups 97

Copying Mains Assignments to Aux

Busses
You can copy the current Main bus assignments to Aux busses
to base monitor mixes from a main mix. Assignments to the
Main Left/ Right busses can be copied to linked Aux busses,
and assignments to the Center/Mono bus can be copied to
mono Aux busses.

Routing Variable Groups to Main Busses

Variable Groups can be routed to the Main busses on the console surface.
To route a Variable Group to the Main busses from the ACS:
1

Activate Variable Groups.

Select each Variable Groups that you want to assign to the

Main busses by pressing its Select switch.

To copy bus assignments from the Mains to Auxes:

1 Target the Aux bus that you want to be the destination of the
copied assignments by selecting its on-screen channel strip.

Click the Input Assign pop-up menu at the bottom of the

Members list, choose Replace With Mix From, then choose the
available Main bus ( Left-Right or Mono) whose assignments
you want to copy to the currently selected bus.

The state of the Aux controls follow the state of the corresponding controls on the Input Channels assigned to the
Mains: Channel Mute maps to Bus Send, Channel Pan maps to
Bus Pan, and Channel Fader level maps to Bus Send level.

Activating Variable Groups

You can activate Variable Groups on the console or on-screen.
Variable Groups mode must be enabled before you can activate and use Variable Groups.
To activate Variable Groups on the console, do one of the
following:
In the Bus Assigns section on the console, press the Stereo
Pan button.

or
In the Channel Control section on the console, press the Aux
18 button twice.

or
If the Auxes/Var Group Follow AFL option is selected ( Options
> Busses), in the Output Masters section on the console press

an AFL switch on a Group bus.

To activate Variable Groups on-screen:

Press the Var Groups button in the Bus Assign Section.

When Variable Groups are activated, the Stereo Pan button,

the Aux 18 button in the Channel Control section and the Var
Groups button on-screen flash.
Input encoder Aux Send assign switches 18 and Aux Sends
18 in the Channel Control section now control Variable
Groups 18, and Var Groups replace Aux Sends on the Inputs
page to provide on-screen Variable Group controls.

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VENUE SC48 Guide

In the ACS Bus Assigns section, press the LR (left and right)
or C/Mono (center/mono) switch so that it is lit.
Move the channels fader to set the Variable Group output
level.

Chapter 12: Matrix Mixers

The Outputs section offers 8 mono (or up to four paris of stereo-linked) Matrix mixers for setting up alternate mixes, fill and delay feeds, and cue, monitor or press mixes.

Matrix Mixers
Each of the 8 available Matrix mixers can receive up to 12 channels of input. Input sources can be any combination of Auxes,
Groups or Mains busses, or any of the eight available Matrix User Sends. By default, each Matrix mixer has a mono output, but
outputs can be linked to form a stereo pair.

Matrix Mixer tab

Matrix Input Source selectors

Matrix Source controls

Matrix output
level and
controls

User Assign

Reset, Clear and Replace selector

Currently selected Matrix mixer

Matrix Mixer in Outputs page

Chapter 12: Matrix Mixers 99

Configuring Matrix Mixers

To stereo link Matrixes:

1

Put the system into Config mode.

Go to the Options > Busses page.

24 shared Aux and Group sources

In the Matrix section, click Edit.

3 Mains sources (LCR or LR+M)

The 12 Inputs for each Matrix mixer can be any combination

of these 35 potential sources:

8 User Input sources

User Inputs can be input channels, FX Returns, physical stage
audio or FOH audio inputs, or inputs from Pro Tools (FWx)

Click to enable the Link between any two adjacent

(odd/even) Matrixes.

Click Apply. (Click Cancel to exit Edit mode without

changes.)

One or more of the 8 available user inputs can be sent to

one or more Matrix mixers.
Input source assignment and user input assignment can
be stored on a per-snapshot basis.
The input sources for Matrix mixers are configured as
Pre- or Post-Fader in the Pickoffs tab of the Options page.
Input labels (18, Left, Right, C/Mono and User) are only
intended as a guide. In use, any input source can be assigned to any mixer input (for example, Left doesn't always have to be assigned to the Left input of a mixer).

Configuring Aux, Group and Mains

Pickoffs
To configure Groups, Auxes, and Mains pickoffs for the Matrix
mixers:
1

Put the system in Config mode.

Configuring pickoff points may cause a momentary loss of
audio, and therefore cannot be changed in Show mode.

Go to the Options page and click the Pickoffs tab.

Under Matrix Sources, configure Aux, Groups and Mains (LCR

or LR+M) as pre- or post-fader.
3

Linking and Unlinking Pairs to form

Stereo Matrix Outputs
The eight mono Matrix mixers can be linked in odd/even pairs
to form up to four stereo-linked pairs of matrix outputs. A
combination of mono and stereo-linked Matrix mixers is possible. Odd-even matrix pairs are linked and unlinked using
on-screen controls in the Options > Busses page.
Linking Matrixes is accomplished using the same Edit and
Apply methods used for stereo linking Auxes.

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VENUE SC48 Guide

Editing the link status of a Matrix pair in the Options > Busses page.

When a matrix pair is linked, the even-numbered channel inherits all parameter settings of the odd-numbered channel.
The matrix mixer changes to a stereo matrix mixer:
A Pan control is added to each matrix mixer input source.
All input sources are panned center upon linking.
Plug-in assignments to the formerly mono matrix channels
are lost, including all snapshot references.
Unlinking Matrixes
To unlink a pair of Matrixes:
1

Put the system into Config mode.

Go to the Options > Busses page.

Click Edit in the Matrix section.

Click to unlink the desired Matrixes.

Click Apply.

When a Matrix pair is unlinked the even-numbered channel

again inherits all parameter settings of the odd-numbered
channel.
Pre-existing plug-in and GEQ routing may be affected when
the matrix link state is changed. An alert dialog warning of
data loss is shown prior to performing the link or unlink operation. Click OK to complete the link operation, or click Cancel to cancel without changes.

Snapshots

All matrix settings, including Pan but excluding the stereo

link status, are stored and recalled with snapshots. The stereo
link status of Matrix masters is not snapshottable.
Compatibility

Show files created in previous versions of software preserve all

mono matrix settings in working memory and snapshots.
Loading a Show file containing stereo-linked Matrixes in a
previous version of software preserves all date except Matrix
master link status.
Settings

You can copy and paste settings between mono and stereo Matrixes, and use the Replace with Mix command, by right-clicking on the Matrix and choosing Copy, Paste, or Replace with
Mix from the menu.

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.
Stereo inputs (such as stereo groups, Mains LR, and stereo-linked auxes) are linked by default, such as after a Clear
Console operation. Adjacent inputs can be linked or unlinked
at any time, in Config or Show mode.
To link or unlink inputs to Matrix mixers:
1

Copy and Paste

Copy/paste only applies to master strip settings (fader, mute,

polarity, delay, direct out). Mix parameters and mix sources
are handled separately.

Go to the Outputs page, and click to display the Matrix mixer.

2 Click 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.

Replace

You can use the right-click menu to Replace mixer settings between mono and stereo Matrixes.
.

From

To

Result

Mono

Mono

All mix parameters and mix

sources applied

Mono

Stereo

All mix parameters and mix

sources applied; Pans default to
center

Stereo

Stereo

All mix parameters and mix

sources applied

Stereo

Mono

All mix parameters and mix

sources except pan applied

Click to link or unlink

Link controls in the Outputs page

Relinking and Offsets

When inputs are relinked, their level and on/off state will
change as follows:
Level Each channel maintains any offset between the two

channels. This offset is not maintained if both linked controls

are adjusted beyond their maximum or minimum.
On/Off Each channel maintains its discrete on/off state at the

time the sources are relinked. For example, if one channel is

on and the other is off the stereo input will maintain these settings after relinking, thus providing a stereo source with one
channel on, and the other off. Toggling one channel from Off
to On results in both channels switching On; toggling one of
the linked channels from On to Off results in both channels
switching Off.

Chapter 12: Matrix Mixers 101

Configuring User Inputs

You can assign up to eight User Inputs to be available globally
to the Matrix mixers.
Any of the eight User Inputs defined for the Matrix can be assigned to any mixer input.
User Inputs are assigned for the Matrix from the User Assign
panel of the Matrix main page.

5 Click the User Assign button again to return to the main Matrix screen.

Assigning Input Sources

To assign input sources to a Matrix mixer:
1

Go to the Outputs page and click to select a Matrix mixer.

2 Click the Input Source selector at the top of each Matrix

channel and select the desired input source. Choices include
Auxes, Groups, Mains and any of the 8 available User Inputs.

User Input Assign

Choosing an Input Source for a mixer

Click to access
User Assign

To use Input or FX Return channels in a Matrix mixer, assign them as User Inputs, then assign those User Inputs as
input sources. For more information, see Configuring User
Inputs on page 102
Assigning Sources to Multiple Mixers

User Input panel showing assignments for a Matrix mixer

You can select multiple Matrix mixers simultaneously and assign sources to all selected mixers at the same time.

To configure the User Inputs for a Matrix mixer:

To assign input sources to more than one Matrix mixer at a time:

Go to the Outputs page and click a Matrix mixer to navigate to

that mixer page.

Currently selected Matrix mixer

2 Click the User Assign button to display the User Assign

panel.
3

For any of the eight available User Inputs, click the on-screen

Source pop-up menu and select an available source. Choices

include Channels, FX Returns, Stage and FOH audio sources,

and FWx Pro Tools record/playback options.

Choosing a User Assign source for a Matrix mixer

For any assigned User Inputs, click the Pickoff pop-up menu
and choose the desired pickoff for that User Input source.
Choices include Top of Channel, Insert Return, and
Pre/Post-Fader (for Input Channels) or Top of FX Return and
Pre/Post-Fader (for FX Returns). The Input Channel Fader
Pickoff setting on the Options > Pickoffs page determines
globally whether the fader pickoff points are pre- or
post-fader.
4

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VENUE SC48 Guide

Go to the Outputs page and use Multi-Select (or the Shift

key) to select two or more Matrix mixers in the fader display at
the bottom of the screen.

2 Click the Source selector at the top of a mixer channel (18,

Left, Right, C/Mono, or User) and select the desired source.

Adjusting Matrix Mixer Input Controls

Matrix Mixer Input Levels

Resetting Matrix Mixer Input Controls

You can reset level, pan and stereo link settings for any matrix
mixer. Input source assignments persist.

The levels for the first eight input sources (or sends) of a
Matrix mixer are controlled by the Output Encoders.

To reset a Matrix mixer parameter to its default value:

1

Select one or more Matrix mixers you want to change.

The eight Output Encoders on VENUE SC48 control the input

levels of the currently selected Matrix mixer input sources.

Right-click the encoder on-screen and choose Reset.

To reset all Matrix mixer parameters to their default values:

1

Select one or more Matrix mixers you want to change.

Click the pop-up menu at the bottom of the mixer area and
choose Reset Mix.

Matrixes switch

Resetting a mix
Assigning Matrixes to the Output faders

Clearing Matrix Mixer Settings

To control mixer input source (send) levels on the console:

1

Press the Matrixes switch in the Output fader assign section.

Press a Select switch for a Matrix to select that mixer and

view its inputs. Input parameters are shown on the top row of
the Output LCD. Input source levels are controlled by the encoders, and output levels are controlled by the faders.

You can clear mixer input assignments to quickly set all the
input sources to None.

Press the encoder to turn that mixer input source on or off.

Turn the Output encoders 18 to set the level for the first
eight input sources assigned to the currently selected Matrix
mixer.

To adjust source inputs 912, press the Next Page switch to

bank those sources to Output Encoders 58. To return to
sources 18, press the Prev Page switch.

To clear Matrix input assignments:

1

Click the pop-up menu at the bottom of the mixer area 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.
Copying mixer settings overwrites all the settings on the
destination mixer.

Matrix Mixer Input Pan

The Matrix mixer input (or send) pan controls adjust the
panning of each Matrix mixer input across the stereo outputs
of a linked stereo Matrix mixer.
To control Matrix send pan:
1

Press the Matrixes switch in the Output fader assign section.

Press an Output channel Select switch to select a Matrix.

Select one or more Matrix mixers you want to clear.

To copy settings between mixers:

Select the Matrix mixer that you want to be the destination

of the copied settings so that it is displayed on-screen.

Click the pop-up menu at the bottom of the mixer area,

choose Replace With Mix and Mix Sources From.

Choose the Mtx (Matrix mixer) from the sub-menu whose

settings you want to copy to the current mixer.

Press the Pan switch located below the Prev Page and Next
Page switches.

Adjust the Output Encoder 18 to adjust pan on Matrix inputs 18. To access inputs 912 for the current mixer, press the
Next Page switch.

Chapter 12: Matrix Mixers 103

Adjusting Matrix Mixer Output

Controls

Snapshot Data and Parameters for

Matrix Mixers

Matrix Mixer Output Levels

Snapshots can store and recall all source assignments (of each
matrix mixer) when the Matrix (Mtx) data type 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 desired.

Matrix output levels are controlled by the Output faders.

To control mixer output levels:
1 Press the Matrixes switch to bank Matrix mixers to the Output faders.
2 Adjust the fader corresponding to the output level you want
to change.

Matrix Mixer Output Delay

A variable delay (0500 ms) can be applied to the output of
Matrix mixers. For instructions, see Output Delay on
page 81.

Delay Compensation with Matrix Mixers

VENUE automatically compensates for the delay offsets that
can arise when combining different signal paths within a Matrix mixer.

The following table describes what can be stored and recalled

in each snapshot when the MTX data type is scoped.
Table 3. Snapshot data types and parameters for Matrix mixers
Snapshot
Data
Type
MTX

Included Parameters (for Each Scoped Channel

Strip)
Mixer Input Sources, User Input Assignments (global
to all Matrixes), and pickoffs; Mixer Input level, Mixer
Input on/off state and Mixer Input Link state

You cannot snapshot link state of Matrix outputs.

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.

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 channels
post-insert pickoff. Channels that feed User Inputs and
Auxes (pre-insert) will not be fully compensated for.

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VENUE SC48 Guide

For complete information on VENUE snapshots, see

Chapter 22, Snapshots.

Chapter 13: Patchbay

The main tools and sections of the Patchbay screen are the following:

Accessing the Patchbay

To show the Patchbay screen:

Press the Patchbay switch, located in the View Modes section, or click the Patchbay tab on-screen.

Tabs
The Patchbay is navigated using the following tabs.

To jump to the Patchbay from the Inputs and Outputs screens:

I/O Tabs

Click on the channel routing indicator, right below the channel name display. The screen automatically jumps to the corresponding Patchbay screen (whether an input, output, or bus).

Click to display and patch Inputs, Outputs, or Directs (Direct

Outputs). Other options in the Patchbay screen change to reflect the currently selected I/O tab.
Channel Type Tabs

Click 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.

Channel
Routing
indicator
Jump to Patchbay

Overview of the Patchbay

The Patchbay screen lets you patch hardware I/O to input and
output channels.
Hardware tabs

I/O
tabs

I/O tab

Channel Types available

Inputs

Channels, FX Returns

Outputs

Groups, Auxes, Matrix, Mains

Directs

Channels, FX Returns, Outputs

Inserts
(IO16
Card-equipped
systems Only)

Channels, FX Returns, Outputs

Hardware Tabs

Click these tabs to display the hardware inputs and outputs

available for the current I/O and Channel Type. These represent the physical inputs and outputs of the system.

Channel
controls

Choices include Stage audio inputs and outputs, FOH (local)

inputs and outputs, and FWx Pro Tools inputs and outputs.
Available hardware inputs and outputs are based on channel
type selection, system configuration and hardware device status. See Unavailable I/O on page 106.
Channel Type tabs

Patching Grid

Patchbay page (Inputs tab shown)

Chapter 13: Patchbay 105

Patching Grid

Visual Indicators and Displays

The Patching Grid shows hardware I/O across the top, and
VENUE channels 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 between hardware I/O and VENUE mixing channels.

The Patchbay uses the following visual display conventions in

all its pages and tabs.

By default, hardware inputs are routed in a 1-to-1 pattern to

input channels resulting in Stage inputs 148 appearing on Input Channels 116 (Bank A), 1732 (Bank B) and so on.

Channel Controls

Unavailable I/O

The Patchbay displays hardware tabs for all possible configurations, even if your system does not include any expansion
options.
The Patchbay indicates I/O that is offline or unavailable by
graying out the columns beneath that device.

These controls mirror the controls for the currently selected

channel. For example, when showing Inputs, the Channel controls let you adjust input gain, polarity, phantom power, HPF,
Direct Out, and basic level without leaving the Patchbay.
Channel Direct Outs

The channel area in the Patchbay provides access to Direct Out

controls.
To adjust Direct Output level from the Patchbay:

Unavailable I/O
Unavailable I/O (grayed columns)

In the Patching Grid, patch the channel Direct Out to an

available output.

Unavailable hardware I/O appear grayed out in the patchbay

and italicized in all routing pop-up lists. It is possible to make
assignments to unavailable hardware I/O.

In the channel controls, adjust the on-screen Direct Output

encoder.

The VENUE Standalone software provides additional display

options for hardware I/O (including unavailable I/O).

See Chapter 25, Using the Standalone Software.

Assigned I/O

Adjusting Direct Output level from the Patchbay

106

VENUE SC48 Guide

When a hardware connection is assigned, its connection is

dimmed in all Patchbay screens. This lets you see which hardware connections are in use without having to switch back and
forth between Patchbay screens. You can also use the dimmed
column number indicator to jump to the Patchbay tab for the
existing assignment (for more information, see Shortcut for
Locating Assignments on page 110).

Text Display of Patch Source and Destination

Type Text Search

Above the grid tabs are from and to text display fields that
display the full text names of hardware I/O and channels.

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
on the ACS.

To view full names of a patch source and destination:

Place the cursor over a Channel Name. If the channel is already routed, its source and destination assignment appear directly above the Patching Grid, as shown below.

Source

Destination

Channel Name

To search for and select a channel:

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).

Press the Tab key to cycle through and select any other channels beginning with that letter (such as Snare Top, Snare Bottom, or Strings).
2

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.
Channel source and destination display

An asterisk at the end of a destination name indicates a multiple output assignment. See Multiple Input and Output Assignments in the Patchbay on page 109.

Naming Channels from the Patchbay

Channel names can be changed from the Patchbay. Channel
names can be up to 32 characters in length. When displayed on
the console, names are abbreviated to fit the display.

Navigating the Patchbay

Navigating to Channel Types

The Patchbay uses multiple tabs to access different hardware

I/O and channel types. For example, the Inputs screen provides Channels and FX Returns tabs for you to patch these different channel types independently.
Examples
To show Inputs:

To name or rename a channel from the Patchbay:

1

Double-click the channel name.

Type a new name and press Enter on the computer keyboard.

When naming channels in the Patchbay, press Tab on the
keyboard to go to the next channel and Shift+Tab to go to
the previous channel.

Go to the Patchbay page and click the Inputs tab.

To show a specific type of Input in the Patching grid:

In the Patchbay page, click the Channels tab, or the FX Returns tab. Shift-Click to select and show multiple types at once.

To navigate to a different hardware source:

Click the appropriate Hardware tab across the top of the
Patching Grid.

Chapter 13: Patchbay 107

Scrolling in the Patchbay

Routing Channels in the Patchbay

To scroll through the channel list (vertically):

To route channels in the Patchbay:

Move the cursor over a channel name at the left of the Patching Grid, then press the Up or Down Arrow keys on the keyboard.

Go to a Patchbay page by clicking the appropriate I/O tab,

Channel Type tab, and Hardware tab.

Place the cursor over the Patching Grid. The cursor changes
to a crosshair, and lines extend above and to the left of the current cursor location to identify the column and row in which it
is located.

To scroll through the hardware I/O list (horizontally):

Move the cursor over a hardware I/O channel at the top of
the Patching Grid, then press the Left or Right Arrow keys on
the keyboard.

To scroll the Patching Grid, do one of the following:

Click in the row for the channel and in the column for the
hardware I/O source.

Click the up/down or left/right Patching Grid scroll arrows

to move square by square.
Click the up or down Patching Grid double arrows to move
screen by screen.

Right-click in the Patching Grid and drag in any direction.

Routing a hardware input to an Input Channel

Click and drag vertically, horizontally, or at an angle to assign multiple patch points in a single action.

Repeat as needed.

Patchbay Click and Drag

Scrolling the Patching Grid by right-clicking and dragging

You can quickly select a range of crosspoints in the Patchbay

grid in one operation with a left-click and drag of the cursor.
You can click and drag horizontally, vertically, and at 45 degree angles in any direction.
You cannot undo changes to the Patchbay grid.
To use click and drag in the Patchbay grid:
1

Left-click on the crosspoint defining the start of the range.

Continue to hold the left-click button, then drag horizontally (to populate a row), vertically (to populate a column), or
horizontally and vertically (a 45 degree angle).

Release the left-click button when the destination crosspoint

is reached. All crosspoints along the path are filled in.

The destination crosspoint sets the targeted channel. If the

new assignments steal any previous assignments, a warning
dialog will ask you to confirm or cancel the reassignment.
To suppress the reassignment warning dialog, hold Default
(on the control surface) or Alt (on the computer keyboard)
while clicking in the patch grid. For more information, see
Warning when Stealing Inputs or Outputs in the Patchbay on page 110.

108

VENUE SC48 Guide

Using the Arrow Keys to Route Channels

You can also use the Arrow keys instead of the trackball to assign routing.
To route channels using the Arrow Keys on the keyboard:

Place the cursor over the Patching Grid so that the cursor
changes to the crosshair.

Press the Left or Right Arrow keys to move the crosshair to

the next or previous hardware I/O column; press the Down or
Up Arrow keys to move the cursor to the next or previous
channel.

To assign a hardware input source to multiple Input Channels or

FX Returns:
1

Go to the appropriate Input tab in the Patchbay.

2 Click in the Patching Grid to assign the source to the first Input Channel or FX Return.

Click additional grid squares in the same column to assign

the source to additional channels. The selected hardware input
is routed to each of the assigned Input Channels or FX Returns.

When the crosshair is over the correct square in the grid,

press Enter to assign the patch.

Multiple input
assignments

Multiple Input and Output Assignments in

the Patchbay
Input sources can be assigned to multiple Input Channels in
the Patchbay. Output busses can be assigned to multiple hardware outputs.
Stage inputs assigned to multiple channels share a common
preamp gain. Adjusting one channel's gain automatically adjusts all other channels. All other channel functions (such as
EQ, dynamics, and panning) remain independent, making it
convenient to have a channel appear on one input strip to bus
and process it for the house mix, and on another input strip
with different processing for monitor mixing.
Using multi-assigned inputs requires additional input channels be available in the current System Configuration. If you
are using all available stage inputs, you must increase the
number of Input Channels in the Options > System page. (To
learn how to configure the number of Input Channels, see
System Configuration Settings on page 54.)

A hardware input routed to multiple Input Channels

To assign an Output bus to multiple hardware outputs:
1

Go the appropriate Output tab in the Patchbay.

Click in the Patching Grid to assign the Output bus to the

first hardware output.

Click additional grid squares in the same row to assign the

same Output bus to additional hardware outputs. The selected
bus is assigned to all the assigned hardware outputs. An asterisk (*) appears at the end of the displayed destination to indicate the multiple routing.

Multiple output
assignments
An Output bus assigned to multiple hardware outputs

Chapter 13: Patchbay 109

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 addition, 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.

VENUE System Information Export

The System Information Export feature lets you generate an
HTML (text) document that details the consoles hardware,
software and currently loaded Show file configurations. This
document can be read by any Internet browser, such as Internet Explorer, Mozilla Firefox or Safari.
The patch list can also be exported separately (for more information, see Patch List Export on page 111).

To confirm a reassignment, do one of the following:

Click Assign when prompted to confirm the reassignment.

or

Click again on the same patch point.

To cancel a reassignment, do either of the following:

Click Cancel to leave the patchpoint unchanged.

Click any other point in the grid (the Patchbay grid remains
active, even when the Confirm Assignment dialog is open
on-screen).

The System Information document can be sent directly to production or rental companies to describe your exact console
needs; alternately, the information can be re-formatted as desired by copying and pasting the data into a word processing
or spreadsheet application.
To export VENUE System Information:
1 Insert a USB key disk into any available USB port on the console.
2

Go to the Options > System page.

Click the Info button.

Export VENUE System Information button in Options > System

4

If you have more than one USB key disk connected, make
sure the correct USB key disk is selected. If it is not, click
Next Disk to cycle through each available disk until the
correct one is selected.

Warning when reassigning an output that is already in use

To suppress the reassignment warning dialog, hold Default

(on the control surface) or Alt (on the computer keyboard)
while clicking in the patch grid to change the assignment.

Click Save to proceed and export system info to the selected USB disk.

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, as
follows:

Do any of the following:

Click Cancel to dismiss the dialog without exporting.

5

Click OK to confirm the export procedure.

You can now remove the USB key disk from there, you can
transfer the exported file to a personal computer for printing,
formatting, archiving or distribution.

To identify the bus or channels currently assigned to a hardware

output:

Standalone Software

Click on any dimmed (already assigned) column number at

the top of the Patchbay. The Outputs tab containing the assignment is automatically revealed.

When exporting System Info from the Standalone software,

the exported System Information file is displayed immediately
using the default browser installed on your computer.

Click

Clicking a column number to go to its current assignment

110

VENUE SC48 Guide

VENUE System Information Contents

Exported VENUE System Information is saved as an HTML

file, and the file name includes the date and time of the export.
Contents include the following (not all data will be generated
from the Standalone software):

Patch List Export

The Patchbay export generates a patch list in an easily readable format.
To export Patchbay information:

Avid VENUE

Insert a USB key disk into any USB port on the console.

System Information Lists the date and time the Info file was

Go to the Patchbay page and click the Export button.

generated.
Console Lists the current hardware configuration and installed options for the VENUE SC48, including ECx and FWx
cards.

Export button

Stage Configuration Lists card slot contents for each detected

Stage slot.
Installed Plug-Ins Lists version and other information (as reported by each plug-in) for all currently installed plug-ins.
The list groups plug-ins by whether they are Enabled or Disabled. Enabled and In Use plug-ins appear at the top, followed
by any remaining enabled (but not In Use) plug-ins. Plug-in
information is not available when exporting from the Standalone software.
Show File Information Lists the name, file path, date and time

of the most recently loaded Show file.

System Configuration Lists information found on the Options

> System tab.

DSP Usage Lists the processes assigned to each DSP of each

Mix Engine card. Information is sub-divided by Mix Engine as

displayed on the Options > Devices tab.

Export Patchbay Information icon

3

Do any of the following:

If you have more than one USB key disk connected, make
sure the correct USB one is selected. If it is not, click Next
Disk to cycle through until the correct one is selected.
Click Save to export info to the selected USB key disk.
Click Cancel to dismiss the dialog without exporting.

4 Click OK to confirm the export procedure. You can now remove the USB key disk and transfer the exported file to a personal computer for printing, formatting, and distribution.

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).

Patch List Lists the contents of each Patchbay page. A com-

Contents of Exported Patchbay Information

plete patch list is included in the System Information Export,

or a detailed patch list can be exported separately from the
Patchbay (see next).

Exported Patchbay information is saved as an HTML file, and

the file name includes the date and time of the export. Contents include the following:
VENUE Patch List
Show Name, file path, date and time of Show file.
Input and Output Patching (Stage, FOH, and Pro Tools (FWx))

Stage inputs show global number 1-48, input name(s), card

slot and number.
Stage outputs show global number 1-16 (or 32 on expanded
systems), output name, card slot and number.
FOH (local) inputs and outputs show the physical input/output name and number, where applicable.
Pro Tools inputs and outputs show all 18 possible input/output assignments.
Unavailable channels are labelled N/A.
Direct outs are identified uniquely.

Chapter 13: Patchbay 111

112

VENUE SC48 Guide

Chapter 14: Metering

VENUE provides signal metering on the channels, in the metering section, and on-screen.

Channel Meters
Input channels and FX returns provide an input level meter,
and indicator LEDs for EQ and stereo, Input channels additionally provide a compressor/limiter gain reduction meter,
and a gate status LED.

EQ Status LED

A single red LED indicates EQ In/Out status as shown in the

following table.
Color

EQ Status

(none)

Not in circuit

Red

In circuit

Stereo Channel LED

A single yellow LED indicates a stereo input channel. The stereo channel LED flashes if a 12 dB or greater offset is detected
between left and right inputs.

Comp/Lim
Gain Reduction

Input Level
EQ In/Out

Gate
Stereo

Color

Channel Status

(none)

Mono

Yellow

Stereo

Input channel meters and LEDs

Bank Clip Indicators

All console channel meters have higher resolution on-screen

equivalents that appear in both the targeted channel controls
and above the faders in the channel overview.

The Clip LED at the top of Input Channel and FX Return channels lights when clipping occurs on a hidden fader bank. The
channel position of the Clip indication corresponds to the position of the off-bank channel. The Clip LED flashes to indicate momentary clips, and lights solid for sustained clipping.

Meter ballistics and clip margin can be set for channel meters.
For more information, see Metering Options on page 116.

Input Channels and FX Returns Meters

Input Level Meters

Each Input Channel and FX Return channel strip has a 6-segment Input Level meter that shows input levels from bottom
to top, according to the following scale:
LED

Level

Colors

1 (top)

Clip/+15 dB

Red

+6 dB

Yellow

0 dB

Green

6 dB

Green

12 dB

Green

6 (bottom)

30 dB

Green

Color

Expander Status

Gate Status

(none)

Not in circuit

Not in circuit

Green

3 dB gain reduction

Gate Open & Hold

Yellow

3 dB to 21 dB gain
reduction

Gate Release

Red

> 21 dB gain reduction

Gate Closed

To locate the clipped channel:

Press the Bank switches until the Channel Input Level meters show clipping.

For more information on clip indication, see Metering Options on page 116.

Chapter 14: Metering 113

Input Channels Meters

Selected Channel Meter Scale

Compressor/Limiter Gain Reduction Meter

The LEDs in the Compressor/Limiter meter show the amount

of gain reduction being applied to the input channel by the
built-in Compressor/limiter from right to left, according to
the following scale:
Channel Compressor/Limiter gain reduction meter scale
LED

Gain Reduction

Color

none

0 dB

Off

1 (right)

<= 3 dB

Green

<= 6 dB

Green

3 (left)

<= 12 dB

Green

LED

Level

Color

-15 dB

Green

-21 dB

Green

-30 dB

Green

10 (bottom)

-60 dB

Green

Selected Channel Gain Reduction Meters

The three dynamics gain reduction meters in the ACS section
show gain reduction for the built-in Compressor/Limiter, the
built-in Expander/Gate, and any applicable Dynamics plug-in
on the selected channel.

Gate Status LED

Compressor/Limiter

A single bi-color LED shows the current Expander or Gate status, as shown in the following table.

Expander/Gate

Gain Reduction
Meters

Plug-in

Selected Channel Gain Reduction meters

ACS Input and Dynamics Meters

Selected Channel Level Meters
The Selected Channel meters in the ACS include two 10-segment level meters:

Compressor/Limiter and Plug-In Gain Reduction

Meters

On the ACS Comp/Lim and Plug-In gain reduction meters, the

6 LEDs show dynamics gain reduction from right to left, according to the following scales
ACS gain reduction meter scale for comp/lim/plug-in
LED

Gain Reduction

Color

(none)

0 dB

(none)

1 (right)

1.5 dB

Green

3 dB

Green

6 dB

Green

9 dB

Green

Selected Channel meters and LEDs

15 dB

Yellow

These meters show mono or stereo levels on the selected channel. The dual, 10-segment, bi-color LED meters indicate input
level for the currently targeted or Soloed channel.

6 (left)

21 dB

Yellow

Meters
Stereo

Solo

Selected Channel Meter Scale

114

Expander/Gate Gain Reduction Meter

On the ACS Exp/Gate gain reduction meter, the 6 LEDs show

dynamics gain reduction from right to left, according to the
following scales

LED

Level

Color

1 (top)

Clip
+15 dB

Red
Yellow

+9 dB

Yellow

LED

Gain Reduction

Color

+3 dB

Yellow

(none)

0 dB

(none)

0 dB

Green

1 (right)

3 dB

Green

-3 dB

Green

6 dB

Green

-9 dB

Green

VENUE SC48 Guide

ACS gain reduction meter scale for exp/gate/plug-in

Stereo Output Metering

ACS gain reduction meter scale for exp/gate/plug-in

LED

Gain Reduction

Color

12 dB

Green

21 dB

Green

36 dB

Yellow

6 (left)

60 dB

Yellow

With stereo Groups the output level meters in the metering

section show level for only the highest of the left and right
channels.
To see level for both the left and right channels of a stereo output, refer to the on-screen meters, or target the channel on the
ACS and use the Selected Channel Level Meters.
Selecting Output Meter Display

Metering Section

To select an output type for metering:

The Metering section includes Bus and Main Outputs meters.

Press the Select switch in the metering section to cycle

through available choices (Auto, Aux 18, Aux 916, Matrixes
or Groups). The currently assigned bus is indicated by its Meter LED lighting.

To set metering to follow the Output faders:

Bus Masters

Metering

Main

Press the Meter Select switch repeatedly so that the Auto

LED is lit.

Meters

All of the 10-segment meters in the meter bridge show levels

according to the following scale:
Table 4. Meter bridge 10-segment meter scale
LED

Level

1 (top)

+15 dB
(red=clip)

+9 dB

+3 dB

0 dB

3 dB

9 dB

15 dB

21 dB

30 dB

10 (bottom)

60 dB

Bus Output Meters

The eight output level meters in the meter bridge are assignable as a unit for metering of Groups, Auxes, and Matrixes.
The Bus Output meters can automatically follow the current
Output fader bank assignment (indicating level for the currently selected Output bus), or be assigned to a bus output for
persistent bus level indication.

Bus output LEDs and Select switch

Main Output Meters

The three Main output meters in the meter bridge show output
levels for the three Main outputs (either in LCR or in
LR+M format).

Main output level meters in the meter bridge

The 10 LEDs show input levels from bottom to top, according

to the scale shown in Table 4 on page 115.

Metering on the Solo Bus

Metering Soloed Channels

Solo bus metering depends on the type of channel being soloed.

Single Channels

In PFL, AFL, or SIP (solo-in-place) modes, a single soloed

channel is metered in the same way as if the channel were targeted on the ACS.

Chapter 14: Metering 115

Multiple Channels

Peak Hold Time

In PFL or AFL mode, when multiple channels are soloed, the

left and right channels of the Solo bus are metered on the Selected Channel meters, pre-Solo Trim control.

Peak Hold Time can be set within a range of 020 seconds.

In SIP mode, when multiple channels are soloed, the Left and
Right Main bus meters are mirrored on the Selected Channel
meters.
Dynamics Key Listen

When Key Listen is activated, the left and right channels of the
Solo bus are metered on the Selected Channel meters, pre-Solo
Trim control.
Solo Clip Indication

When the Selected Channel meters are showing levels of a single soloed channel, the clipping information in the metering
section LEDs mirrors that on the channel itself.
When the Selected Channel meters in the metering section are
showing Solo bus levels, the meter LEDs turn red to indicate
clipping on the Solo bus.

Metering Options
Meter Display
The following display options can be configured for meters.
These options affect all meters on the console.

To set the Peak Hold Time:

1

Go to the Options page and click the Interactions tab.

Under Meter, enter a value for the Peak Hold Time.

Press Enter on the keyboard.

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

The Clip Margin setting 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 dBVU).
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 the Options page and click the Interaction tab.

Under Meter, enter values for Input Clip Margin Below Max and
Output Clip Margin Below Max.
2

Press Enter to confirm the setting.

Clip Hold Time

Metering options in the Interactions tab of the Options page

Meter Ballistics

Meters can be set to operate in the following modes:

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 020 seconds.

RMS Mode (Default) Meters follow the characteristics of a

To set the Clip Hold Time:

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
designated Peak Hold Time.

Go to the Options page and click the Interaction tab.

Under Meter, enter a value for the Clip Hold Time.

Press Enter to confirm the setting.

Use RMS mode when recording to Pro Tools, for the most accurate reading of corresponding record levels.
Peak Mode 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.

116

VENUE SC48 Guide

Chapter 15: Solo and Monitor Busses

Solo Bus Modes

Selecting a Solo Mode

Three Solo modes are offered: Pre-Fader Listen (PFL),

After-Fader Listen (AFL) and Solo In Place (SIP).

The Solo mode can be selected on-screen.

To select the Solo mode on-screen:

Pre-Fader Listen (PFL)

PFL Solo mode sends the signal from explicitly soloed Input
Channels and FX Returns to the AFL/PFL Solo bus. The signal
is post-insert, pre-fader and pre-mute.

Go to the Options page and click the Busses tab.

Under Solo and Monitor Operations, click the Type pop-up

and choose the desired Solo mode.

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 Solo bus.
PFL is the default Solo mode.
After-Fader Listen (AFL)

AFL Solo mode sends the signal from explicitly soloed channels and solo-safe inputs to the AFL/PFL Solo bus. Soloing of
output busses is always AFL.
In AFL Solo mode, both input and output signals are sent to
the Solo bus post-fader and post-pan/balance, and are always
panned to stereo even if the Main busses are configured in
LCR mode.
Monitoring Aux Busses with AFL

Choosing the type of Solo mode in Options > Busses

Solo States and Modes when Loading Shows

Channel Solo States When you load a Show file, all solos are
cleared. Solo states are not saved with Show files.
Solo Mode 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.

Linked Aux busses use true stereo AFL. When you solo a
linked Aux bus, the two busses are heard as a stereo pair on the
Solo bus.
Mono Aux busses are heard as dual mono on the Solo bus.
Solo In Place (SIP)

SIP mode applies to Input Channels and FX Returns only. Solo

In Place sends the signal from the soloed channel to the Mains
and Monitor busses. Signal is sent post-pan/balance.
In SIP Solo mode, audio is sent directly to the Main busses.
Use this feature with caution.

Chapter 15: Solo and Monitor Busses 117

Solo Operation Options

Momentary or Latching Switch Operation
Channel 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 unsolo the channel.

To latch solo on a channel:

Press and release the solo switch. Press the switch a second
time to unsolo the channel.

Auxes Follow AFL and AFL Follows Auxes

You can customize how encoder banking and AFL selection interact using the two settings for Auxes Follow AFL and AFL
Follows Auxes.
Auxes Follow AFL

The Auxes Follow AFL option is especially useful for monitor mixing, because it provides instant access to any mix by
the soloing the mix output.
When this option is selected, soloing an Aux output bus (by
pressing its AFL switch) assigns the Aux Send level and pan
controls for that bus to be displayed on the input encoders.
With mono Aux busses, Send level is assigned to the Input
encoders. With stereo (linked) Aux busses, Aux Send
level is assigned to the encoders.
When Flip to Faders is pressed, Send level is flipped to the
faders and send pan for the Aux (even numbered send) is
automatically mapped to the input encoders. The pan
button flashes while this mode is enabled.
If the encoders were already flipped to the faders, flipped
status is maintained when an Aux bus is soloed.
To set Auxes to display send controls when soloed:
1

Go to the Options page and click the Busses tab.

Under Solo and Monitor Operation, select the Auxes Follow

AFL option.

To cancel display of Aux send controls:

Unsolo the Aux bus. The Input Encoders return to their previous display.

or
Select any other parameter for the Input Channel encoders
to override the Aux follows AFL display. The encoders display
the selected parameter until another output is soloed.

AFL Follows Auxes

When the AFL Follows Auxes option is selected, assigning encoders to an Aux Send will automatically solo that Aux bus.
This speeds up AFL access, specifically for monitor mixing.
The AFL Follows Auxes option is set from the Solo and Monitor Operations section of the Options > Busses page. By default, the option is off (not selected).
The AFL Follows Auxes setting is stored and recalled with
each Show file.
To set AFL to follow Aux encoder assignment:
1 Go to the Options > Busses tab and select the AFL Follows
Auxes option.
2

In the Input section, assign encoders to an Aux Send bus.

To cancel (unsolo) in AFL Follows Auxes mode:

Press the flashing Solo Clear button

The Events List can be used to assign the Solo Clear function
to a footswitch or any other available trigger.

Auto Cancel and Input Priority

The Auto Cancel option determines whether Solo switches
cancel other soloed channels or are additive (latching). The
Input Priority 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 so-

los (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; soloed inputs temporarily replace soloed outputs
Auto Cancel Off, Input Priority Off Solos are additive, and so-

loed inputs and outputs are heard together

Auto Cancel Off, Input Priority On Solos are additive, and soloed inputs temporarily replace soloed outputs.

Solo and Monitor Operation settings in the Options > Busses page.
3
118

Solo an Aux output bus by pressing its AFL switch.

VENUE SC48 Guide

Solo Bus Operation

Soloing Channels
Solo operation depends on the type of channel being soloed,
and on any selected Solo switch options. In all modes, a channels Solo switch lights to indicate that the channel is soloed.

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.

or
Input Channels

Pressing a Solo switch on an Input Channel or FX Return

sends signal to the Solo bus (when in PFL or AFL modes) or to
the Main 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. Implicit
mutes are indicated by a flashing mute switch.

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 Solo switch options. See
Solo Operation Options on page 118.

Output Busses

When the AFL switch in the Output section is pressed, signal

is sent to the AFL/PFL Solo bus. This applies to Groups, Auxes,
and Matrixes. Outputs are always AFL.

Soloing Single Channels

To solo a single channel, do one of the following:

To solo the members of a VCA:

Press the Solo switch on the VCA channels whose members
you want to solo so that the Solo switch is lit.

Clearing Solos
Press the flashing Solo Clear switch in the Monitoring section
to clear all soloed channels.

Press the channels Solo switch so it is lit. 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.

Soloing Multiple Channels

To solo multiple channels, do one of the following:

With the Auto Cancel option enabled, press the Solo

switches on multiple channels simultaneously.

Hold Multi-Select (Shift) and press the Solo switches on one

or more channels.

or

Solo Clear

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 replacing the metering for any currently targeted channel.
For more information, see Metering on the Solo Bus on
page 115.

With the Auto Cancel option disabled, press Solo switches

on multiple channels in any sequence. The Solo switches latch
on.

Chapter 15: Solo and Monitor Busses 119

Solo Safing Channels

Monitor Bus Operation

Solo Safe is a state which prevents a channel from being implicitly muted when any other channel is soloed. Only input
and FX return channels can be made solo safe. Solo safed
channels are automatically added to any explicitly soloed
channels.

The Monitor bus outputs signal to the headphone output on

the top of the console (in the Monitoring section). The Monitor bus outputs can also be routed to hardware outputs and to
bus-fed plug-ins.

Solo Safe only applies to SIP and AFL modes. Solo safe status
is ignored in PFL mode.
To toggle the solo safe status of Input Channels and FX Returns, the Safe switches must be set to control the Solo Safe
function.
To set Safe switches to control the Solo Safe function:
1

Go to the Options page and click the Interaction tab.

Under Input Safe Switches, select Act as Solo Safes.

To toggle the solo safe status of a channel, do one of the

following:

Select one or more channels, then press the Safe switch in

the Selected Channel Input section.

or

Click the on-screen Solo Safe button for the channel.

Monitor Bus Switching

The following signals can feed the Monitor bus, listed below in
order of priority: Key Listen, Solo bus, and the Mains mix.
Dynamics Key Listen

Pressing a Key Listen button on-screen sends the key signal

from the targeted channels built-in dynamics processor to the
Monitor bus.
Key Listen temporarily overrides the currently enabled Solo
bus operation (PFL or AFL), and replaces any other signal on
the Monitor bus with the mono key signal.
AFL/PFL Solo Bus

In AFL or PFL mode, signal from any soloed channels is sent

to the Monitor bus. When any channel is soloed, the Solo bus
overrides the 2-Track return if it is enabled, or the Main mix if
it is currently being sent to the monitors.
Mix to Monitors

The Mains mix (the signal present on the Mains busses) can be
sent to the Monitor bus.

Assignable Monitor Output

The Monitor bus can be routed to hardware outputs and to
bus-fed plug-ins.

On-screen Solo Safe button

The Safe switch and button flash to indicate the channel is solo
safe. When a channel is soloed because of its Solo Safe status,
its Solo switch flashes.

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), or to an outboard analyzer.
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.

120

VENUE SC48 Guide

Routing the Monitor Bus to Additional Outputs

Adjusting Solo Bus Level

To route the Monitor bus to additional outputs:

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.

1 In the Patchbay, go to the Outputs page and click the Mains

tab.
2 Click in the grid to assign the Monitor output to the desired
destination.

Solo In Place, when engaged, is simultaneously routed to

the Mains and Monitor busses.

Because Level Trim only affects PFL signals, you can easily
balance AFL signals or Mix to Monitors with PFL signals, with
a minimum of Monitoring level adjustment during a show.
To trim the Solo bus level:

Routing the Monitor Bus to Plug-Ins

To route Monitor output to a bus-fed plug-in:

Go to the Plug-Ins page.

Make sure the desired stereo plug-in is installed and assigned to a rack slot.

3 Click the Plug-In Input selector at the top of the corresponding rack slot, and choose Bus Outs > Mains > Monitor - stereo.

Plug-in outputs cant be returned to input channels, in order to prevent feedback loops.

Solo a channel.

Go to the Options > Busses tab 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.
Level Trim (PFL)
Input Channel
Solos (PFL)
+

To Monitor/
Headphones

To Monitor/
Headphones

Output Channel
Solos (AFL)

Level Trim in PFL mode

Assigning monitor output to a bus-fed plug-in

Input Channel
Solos (AFL)

Sending the Main Mix to the Monitor Bus

Monitor Output from an L-C-R Main Mix

The stereo Mix to Monitors signal is derived from the LCR

Main mix by adding a 3 dB signal from the Center channel to
the Left and Right monitor channels.
Monitor Output from an LR+M Main Mix

In a LR+M Main mix, only the Left and Right channels are
heard in the Solo bus.

Output Channel
Solos (AFL)

No Level Trim in AFL mode

Adjusting Headphone Level

Output levels for the headphones are controlled by the corresponding volume knob in the Monitoring section.

To send the Main mix to the monitors:

1

Do one of the following:

Press the Mix to Monitors switch in the Mains section.
or

Monitoring controls

Go to the Options > Busses tab and select the Mix to Monitors option.
Turn the Monitor Speakers knob or the Headphones knob to
adjust the corresponding output level.

Chapter 15: Solo and Monitor Busses 121

Adjusting Monitor Level and Delay

You can set up an Event to toggle Cue on Mains on or off. See

Chapter 23, Events.

To adjust the Solo/Monitor level:

1

Go to the Options > Busses tab.

Adjusting Mains

In the Solo and Monitor Operations section, adjust the Monitoring encoder.

You can apply an adjustable delay to the monitor outputs and

headphone outputs to match the acoustic delay from the main
speaker system.

Adjusting Mains with the Output Encoders

Enabling Cue on Mains maps Mains to Output encoders 13.

To adjust monitor output delay:

1

When Cue on Mains is enabled, the Mains output level remains at its last setting and remains accessible from the console and on-screen, as follows:

Mains

Go to the Options > Busses tab.

L R C/M (or L C R)

Adjust the Delay setting in the Solo and Monitor Operations

section. Be sure to click the In button beneath the on-screen
encoder to enable Delay. When lit, the Delay setting is applied
to the monitor output.
2

Cue on Mains Fader

The Mains fader can be assigned to control cue (Monitor bus)
output level. Enabling the Cue on Mains Fader option lets you
adjust solo PFL/AFL level without having to take your hands
off the faders.
Control of the Mains busses remains available from the Output encoders and on-screen in the Outputs page.

Cue
(Monitoring)

Bus control while Cue on Mains is enabled

While Cue on Mains is active:

Enabling Insert mode replaces the current Output encoder assignments with insert controls.

The Cue on Mains Fader setting is stored with the Show file.

Banking to Matrix or PQ replaces the current Output encoder assignments with the sources for the selected Matrix or PQ.

To enable Cue on Mains:

1

Turn the Monitoring encoder fully counter-clockwise (off ).

Go to the Options > Busses page.

Adjusting Mains On-Screen

Under Solo and Monitor Operations, select the Cue on Mains

Fader option.
3

You can use the controls in the Outputs page on-screen to select, mute, or adjust the level of any of the Mains busses (L, R
and C/Mono).
You can select a Mains bus on-screen to target it in the ACS.
Use the selected channel controls in the ACS to select, mute,
or adjust the level of the Mains busses.
Using the Flex Channel

Cue on
Mains
Cue on Mains

The Mains fader now controls Monitoring level. The Mains Select switch flashes quickly.
To exit Cue on Mains (return to normal):

Go to the Options > Busses page, then click to deselect the

Cue on Mains option.

While Cue on Mains is enabled, the Mains busses remain

available on-screen, and can be targeted to the ACS.
122

VENUE SC48 Guide

On VENUE SC48, the Flex Channel can be used to control the

Mains bus.
To assign the VENUE SC48 Flex Channel to Mains while Cue on
Mains is enabled:
1

Select the desired Mains bus by clicking it on-screen.

2 Press the Flex Channel Latch switch. The selected Mains bus
is now at the Flex Channel.

Cue on Output Encoder

On VENUE SC48 you can control Cue (Monitoring) level from
the Output encoder section. Cue on Output Encoder is always
enabled, but is available only when no other function is assigned to the Output encoders. Specifically, banking the Output section to Matrixes, Groups (if stereo), or enabling Insert
Mode replaces Cue on the encoders with Matrix input level,
Group pan, or plug-in parameters, respectively.

In the confirmation dialog that appears, click Route to confirm your assignment or click Cancel to cancel without changing the current routing.
3

Signals are routed to output busses post-mute and post

fader.
Activating Talkback Input and Setting Level
To activate and set the level for Talkback input:

Talkback, 2-Track and Oscillator

Controls
You can assign Talkback microphone input, 2-Track source
inputs, and the built-in Oscillator to any Input Channel or FX
Return. Talkback, 2-Track, and built-in Oscillator output can
be routed to any output busses.

Go to the Options > Misc page.

Click the on-screen In button in the Talkback section.

On the back panel, turn the Talkback Mic Gain knob.

Set the Talkback input level by adjusting the on-screen Level

knob in the Talkback section.

You can designate a footswitch, Function switch or other

triggers to control Talkback. For more information, see
Chapter 23, Events.

Using Talkback
The Talkback input on the back panel of the SC48 console accepts signal from any dynamic or condenser microphone.

Setting Talkback Dim Level

Assigning Talkback Microphone Input

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 assign input to an Input Channel or FX Return:

Go to the Patchbay > Inputs tab, then click the Channels tab
or the FX Returns tab.

At the top of the channel grid, click the FOH tab.

3 Click in the channel grid to assign the Talk input source to

an Input Channel or FX Return (listed on the left).

To set the Talkback Dim Level:

1

Go to the Options page and click the Misc tab.

2 In the Talkback section, double-click the Dim Level text box

and enter a Dim Level value in the range 60 dB (maximum
gain reduction) to 0 dB (no gain reduction).

Activating Phantom Power for Talkback Input

The Talkback input on the back panel has available +15V

phantom power for using a condenser microphone.
To apply phantom power to the talkback mic input:
Assigning Talkback input to an Input Channel in the Patchbay

Routing Directly to an Output

On the back panel, move the Talkback Mic Phantom Power

switch to the right.

To route the Oscillator, 2-Track, or Talkback directly to an output:

1 Go to the Options > Misc page and click the Route button in
the Talkback sections.

Talkback controls in the Options > Misc page

Go to the Outputs page and click to select the desired output

(it flashes briefly).

Chapter 15: Solo and Monitor Busses 123

Using 2-Track Inputs and Outputs

Routing 2-Track to an Output Bus

Analog and Digital 2-Track Inputs and Outputs are available

on the back panel of the console.

To route the 2-Track inputs directly to an output bus:

Assigning 2-Track Source Input

Go to the Options > Misc tab.

Click the Route button in the 2-Track section on-screen. The

switch flashes to indicate Route to Selected mode.

To assign the 2-Track inputs to Input Channels or FX Returns:

Go to the Patchbay > Inputs tab and click the Channels tab or
the FX Returns tab.
1

At the top of the channel grid, click the FOH tab.

Click in the channel grid to assign any of the following

2-Track input sources (listed at the top right of the grid) to an
Input Channel or FX Return (listed on the left):

Press the Select switch on each of the output channels

(Auxes, Groups, Matrixes, or Mains) where you want to route
2-Track signal. The Select switches flash to indicate 2-Track
assignment.

4 Click Done in the Route to Selected dialog to confirm the assignment.

Signals are routed to output busses post-mute and post

fader.

AL (Analog Left)
AR (Analog Right)
DL (Digital Left)
DR (Digital Right)
Activating 2-Track Input and Setting Level

Routing to the 2-Track Outputs

You can route any output bus or Direct Output to the 2-Track
outputs.
To route any output bus to the 2-Track outputs:

To feed 2-Track input to the Monitor and Mains busses:

1

Go to the Patchbay and click the Outputs tab.

Go to the Options > Misc screen.

To the left of the channel grid, click the tab for an Output bus
( Auxes, Groups, PQs, Matrixes, or Mains).

In the 2-Track section, click the Input Fed to Monitors and

Masters pop-up and select Analog 2-Track or Digital 2-Track.
2

To activate 2-Track input and set level:

Click the on-screen In button in the 2-Track section of the

Options > Misc page.
1

At the top of the channel grid, click the FOH tab.

Click in the channel grid to assign an Output bus (listed on

the left) to any of the following 2-Track output sources (listed
at the top right of the grid):

AL (Analog Left)

Drag the on-screen Level knob in the 2-Track section of the

Options > Misc page.
2

AR (Analog Right)
DL (Digital Left)
DR (Digital Right)
To route a Direct Output to the 2-Track outputs:
1

2-Track controls in the Options > Misc page

Go to the Patchbay and click the Directs tab.

To the left of the channel grid, click the tab for a channel
source (Channels, FX Returns, or Outputs).

At the top of the channel grid, click the FOH tab.

Click in the channel grid to assign a channel source (listed

on the left) to any of the following 2-Track output sources
(listed at the top right of the grid):

AL (Analog Left)
AR (Analog Right)
DL (Digital Left)
DR (Digital Right)

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VENUE SC48 Guide

Routing the Oscillator

The output of the internal oscillator can be routed to Input
Channels, FX Returns, or any of the output busses. The Oscillator provides selectable signal type, frequency (for Variable
Sine) and signal level, as well as a master on/off switch.

To assign the Oscillator signal to an output bus:

In the Options > Misc page, click the Route button in the
Oscillator section.
1

If you had already selected the desired output, click to

confirm the currently displayed Route To mode (in the
lower left corner of the screen).

Configuring the Oscillator and Setting Level

or

To activate and set the level for the oscillator:

1

Go to the Outputs page and click to select an output (it

flashes briefly).

Go to the Options > Misc page.

As a precaution, click and drag the on-screen Level encoder

down to set the Oscillator level to off before you go any further.

Do either of the following:

In the confirmation dialog that appears, click Route to confirm your assignment or click Cancel to cancel without changing the current routing.
3

Signals are routed to output busses post-mute and post

fader.

Oscillator controls in the Options > Misc page

In the Oscillator section, click the Signal pop-up and select

from the following signal types:

100 Hz Sine

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.

1 kHz Sine
10 kHz Sine
Variable Sine
Pink Noise
White Noise
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).

Click the on-screen In button in the Oscillator section.

6 Set oscillator level by slowly raising the on-screen Level encoder.

Chapter 15: Solo and Monitor Busses 125

126

VENUE SC48 Guide

Chapter 16: Muting and Mute Groups

Muting

Mute Groups

Channels can be muted in three ways: explicitly (lit solid),

with the channel mute switch; implicitly (flashing), as a result
of another channel being soloed, and as a member of a Mute
Group or VCA (flashing).

Channels can be assigned to any of the 8 available Mute

Groups. Mute Groups let you mute and unmute multiple channels simultaneously by pressing a single switch.

Mute switches always behave in additive (latched) fashion.

Channels can be muted in any sequence, and they will remain
muted until they are unmuted.
The following provide some additional information about
channels, busses, and muting:

Any type of channel, including all Input Channels and all Output channels, except VCAs, can be assigned to Mute Groups.
Mute Groups only affect the status of channel Mute switches,
and do not affect the on/off status of Aux Sends, output of the
Talkback/Oscillator section, or the routing of signals to the
monitor outputs.

Input Channels and FX Returns Channel mute is pre-fader on

Assign

Input Channels and FX Returns.

Output Busses Mute operation is post-fader on all types of

Output busses.

Show Members
Cancel

Mains The mute status of the Main busses is controlled from

the Mute switch above the Mains Fader.

Only the linked Mains busses are muted. The Mains Mute
switch flashes to indicate not all Mains are muted. For information on linking Mains, see Linking Mains on page 82.
VCAs When you mute a VCA, its member channels are muted.

The member channel Mute switches flash to indicate they are

muted as part of a VCA.

Flashing Mute Indication

A flashing Mute switch indicates the channel is implicitly
muted as a result of a Solo or Mute Group activation.

Function

Mute Groups 18/ F18

Mute Groups section

Assigning Mute Groups

Mute Groups can be defined from the console or on-screen.
Any mixture of channel types can be assigned to a Mute Group.
Channels can be assigned to more than one Mute Group.
To assign or remove channels from a Mute Group:

Solo In Solo In Place mode, when a channel or VCA is soloed,

Make sure the Mute Groups/Function section is in Mute

Groups mode. If the Function switch is lit, press it so that it
turns off (indicating Mute Groups mode).

all other channels that are not soloed or solo safe are implicitly muted.

2 Press the Assign switch in the Mute Groups section. The Assign switch flashes to indicate Assign mode.

Mute Group Members of a mute group are implicitly muted

and flash when the mute group is active.

Press the Mute Group switch (18) for the group where you
want to assign or remove a channel. This switch flashes to indicate the group is targeted for assignment.
Press the Select switch for each channel you want to assign or
remove from the Mute Group. The Select switches on the selected channels flash.

Chapter 16: Muting and Mute Groups 127

Do one of the following:

Viewing Members of Mute Groups

To confirm the Mute Group definition, press the flashing

Assign switch or the flashing Mute Group switch (18).

You can view Mute Group members in Input Channels and FX

Returns

or
To cancel the Mute Group definition, press the Cancel
switch in the Function section.
To assign or remove members of a Mute Group on-screen:
1

Go to the Inputs or Outputs page.

2 Click the Assign button in the Mute Groups section (to the
right of the on-screen faders). The Assign button flashes to indicate Assign mode.

To view the members of Mute Groups in the Inputs section:

Press the Show Members switch in the Mute Groups section.

Mute Group assignments (18) are shown in the channel LCDs

to indicate membership in the corresponding Mute Group.

Using Mute Groups

Mute Groups are activated from the Mute Groups section on
the console or from the Mute Group controls on-screen in the
Inputs and Outputs pages.
To activate a Mute Group:

Make sure the Mute Groups / Function section is in Mute

Groups mode. If the Function switch is lit, press it so that it
turns off (indicating Mute Groups mode).

Mute Group Assign mode

Press a Mute Groups switch 18 to mute the members of the

corresponding group. The Mute switches of the Mute Group
members flash to indicate they are implicitly muted.

Below the flashing Assign button, one of the Mute Group

buttons 18 flashes to show which Mute Group is selected for
assignment. If desired, click to select a different Mute Group.

To activate multiple Mute Groups:

Click to select the channels you want assigned to the selected

Mute Group (click their fader strips to select individual channels; click their on-screen bank numbers to select multiple
channels at once).

Do one of the following:

To confirm the Mute Group definition, click the flashing
Assign button or the flashing Mute Group switch (18).
Click the on-screen banner display to show the confirmation dialog, then click Assign.
or
To cancel the Mute Group definition, click the on-screen
banner display and click Cancel.

128

VENUE SC48 Guide

Press any number of Mute Group switches 18 in any sequence. Mute Groups function in an additive fashion.

To deactivate a Mute Group:

Press a lit Mute Group switch.

Explicit and Implicit Channel Mute with

Mute Groups and VCAs
This section describes the behavior of channel Mute switches
when used with Mute Groups and VCAs. Solo/PFL implicit
mute behavior is unchanged.
Mute Groups, VCAs and Explicit Mutes

Disabling Mute Groups

You can temporarily disable all Mute Group functions. When
Mute Groups are disabled, all channels implicitly muted as a
result of Mute Group activation are unmuted.
Channels can still be explicitly muted when Mute Groups are
disabled. Mute Group assignments are preserved and made
available again when Mute Groups are re-enabled.

Channels can be muted in three ways:

Explicitly Using the channel Mute switch.

To disable Mute Groups:

1

Implicitly As a member of a Mute Group or VCA.

and
Implicitly As a result of another channel being soloed.

Using Channel Mute Switches

Go to the Inputs or Outputs pages.

2 Click the Disable button on-screen in the Mute Groups section.

To re-enable Mute Groups:

Click the lit Disable button in the Mute Groups section.

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:

Mute Group Disable button on-screen

Activate a Mute Group, or mute a VCA. The Mute switches on

all implicitly muted channels flash.

Function Switches

Press a flashing Mute switch to explicitly unmute the channel. Its Mute switch is now unlit.

VENUE SC48 provides 8 Function switches (F keys).

Press the same (now unlit) Mute switch again to explicitly

mute the channel. Its Mute switch is now lit solid.

Assign

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.

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.

Show Members
Cancel

Function

Mute Groups 18/ F18

Mute Groups section

The function and behavior of each Function switch can be customized in the Event List. By default, Function switches 14
are mapped to Preview mode, channel copy and channel paste,
respectively.
For more information, see Chapter 23, Events.
To access the Function switches:
1 Press the Function switch in the Mute Groups section. When
in Function mode, the Function switch LED lights.

To return to Mute Groups mode, press the Function switch

again.

Chapter 16: Muting and Mute Groups 129

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VENUE SC48 Guide

Part IV: Processing

Chapter 17: Dynamics

VENUE SC48 provides the following dynamics features:

A built-in Compressor/Limiter and Expander/Gate is available on each Input Channel.
Dynamics plug-ins can be used on input and output channels.
All built-in and most plug-in dynamic processors support
side-chain keying with key filtering.

Built-In Dynamics
Each Input Channel provides a built-in Compressor/Limiter,
and an Expander/Gate. Built-in dynamics are not limited by
DSP resources, and can be configured as pre- or post the
built-in EQ per channel. All built-in dynamics parameters are
adjusted using the Channel Control encoders or on-screen.

Built-In Compressor/Limiter
One built-in Compressor/Limiter is available on each Input
Channel. The Compressor/Limiter defaults to compression, or
can be switched to a limiter by setting the Ratio to its maximum setting. Mono and stereo processing are supported.
To access compressor/limiter parameters:
1 Select one or more channels. (Built-in dynamics processing
is available on Input Channels only).

Press the Comp/Lim switch in the Channel Control section of

the ACS. The Comp/Lim switch LED lights blue when engaged,
and Comp/Lim parameters appear in Channel Control.

Channel Control

Plug-Ins
Dynamics plug-ins can be used on input and output channels.
When assigned in the plug-in racks, Dynamics plug-ins can be
inserted on individual mono or stereo channels or fed by busses. Dynamics plug-ins can be adjusted using the Channel
Control encoders, from the Output encoders (in Insert Mode),
or from the on-screen Plug-Ins page. In addition, plug-in presets can be stored and loaded.

In
Thresh
C/L

Channel Control provides a unified set of controls for

both built-in and plug-in dynamics processing.

User

Ratio

Input

Attack

Plug-In

Hardware Inserts
If your SC48 includes an IO16 option card, you can use it to insert a hardware Dynamics processor and control its in/out
state and insert position on-screen. See Chapter 20, Hardware Inserts.

Knee

Release

Gain

EQ Comp/Lim Exp/Gate

Key HF

Key LF

Aux Sends 1-8 Aux Sends 9-16

Comp/Lim switch
Compressor/limiter parameters in Channel Control
To adjust comp/lim parameters in Channel Control:

Do the following:
Adjust an encoder (1-8) corresponding to the desired parameter (Threshold, Ratio, Attack, Knee, Release, Gain,
Key HF and Key LF).
Press encoder 7 or 8 to engage/disengage Key HF or Key
LF, respectively.

To bypass the current dynamics processor:

Press the Channel Control In switch to toggle the process
in/out.

The following section describes the available parameters.

Chapter 17: Dynamics 133

Comp/Lim Parameters

Comp/Lim Defaults and Ranges

All built-in Dynamics parameters can be adjusted using the

Channel Control section of the ACS, or on-screen.

The following table lists the default values and ranges for the
built-in Comp/Lim:

Threshold Increases or decreases the threshold level for the

Comp/Lim (defaults to Compressor mode)

built-in Comp/Lim.

Parameter

Default

Minimum

Maximum

Ratio Increases or decreases the ratio for the built-in

Comp/Lim. The most extreme clockwise setting (100:1)
switches the process into Limiting mode.

Threshold

0 dB

40 dB

+20 dB

Attack

10 ms

100 us

200 ms

Release

100 ms

10 ms

4 sec

Comp/Lim.

Ratio

2:1

1.25:1

100:1

Comp Knee Increases or decreases the knee width for the

Knee

0 (hard)

100

built-in Comp/Lim. A knee value of 0 provides a hard knee setting; 100 provides a soft knee.

Makeup Gain

0 dB

40 dB

+20 dB

Attack Increases or decreases the attack time for the built-in

Release Increases or decreases the release time for the built-in

Comp/Lim.
Make-Up Gain Increases or decreases the make-up gain ap-

plied by the built-in Comp/Lim.

In/Out Takes the built-in Comp/Lim in or out of circuit (by-

pass). The Comp/Lim can be taken in or out of circuit using

the Channel Control In switch, or by clicking the Comp/Lim
button on-screen.
Dynamics plug-ins can be taken in/out of circuit using the
the Channel Control In switch and software screen.
Side-Chain Keying Provides side-chain and key listen.

Side-Chain features are available on-screen only. For details,

see Side-Chain Keys and Filters on page 139.

Comp/Lim Gain Reduction Meters

Built-In Expander/Gate
One built-in Expander/Gate is available on each Input Channel. The Expander/Gate defaults to gate (Ratio of 100:1, the
maximum setting). It can be switched to Expander mode by
setting the Range to its minimum setting. Mono and stereo
processing are supported.
Expander/Gate parameters can be adjusted in the Channel
Control section of the ACS or on-screen.
To access expander/gate parameters:
1 Select one or more channels. (Built-in dynamics processing
is available on Input Channels only).

Press the Exp/Gate switch in the Channel Control section of

the ACS. The Exp/Gate switch LED lights yellow when engaged, and Expander/Gate controls appear in the Channel
Control section.

Three-segment gain reduction meters for built-in Comp/Lim

are located in each input channel strip. These provide constant display of gain reduction being applied by the built-in
Comp/Lim from right to left, according to the following scale:

Channel Control

Channel Compressor/Limiter gain reduction meter scale

LED

Gain Reduction

Color

none

0 dB

Off

1 (right)

<= 3 dB

Green

<= 6 dB

Green

3 (left)

<= 12 dB

Green

Six-segment gain reduction meters are provided in the ACS

for higher resolution metering of the currently selected channel or Dynamics plug-ins.

In
Thresh
E/G

User

Ratio

Input

Attack

Plug-In

Knee

Release

Gain

EQ Comp/Lim Exp/Gate

Expander/gate parameters in Channel Control

VENUE SC48 Guide

Key LF

Aux Sends 1-8 Aux Sends 9-16

Exp/Gate switch

See Chapter 14, Metering.

134

Key HF

To adjust Exp/Gate parameters in Channel Control:

Exp/Gate Gain Reduction Meters

Press or rotate an encoder (1-8) corresponding to the desired

parameter (Threshold, Ratio, Attack, Knee, Release, Gain, Key
HF and Key LF).

A single bi-color Gate LED on each input channel indicates

Exp/Gate activity, as shown in the following table.

Press the encoders for Key to engage/disengage Key HF or

Key LF.

Color

Expander Status

Gate Status

(none)

Not in circuit

Not in circuit

To bypass the current dynamics processor:

Green

3 dB gain reduction

Gate Open & Hold

Press the Channel Control In switch.

Yellow

3 dB to 21 dB gain
reduction

Gate Release

Red

> 21 dB gain reduction

Gate Closed

Expander/Gate Parameters
The Exp/Gate parameters can be adjusted using the Channel
Control encoders (in Exp/Gate mode) or on-screen.
Threshold Increases or decreases the threshold level for the

built-in Expander/Gate.
Ratio Increases or decreases the ratio for the built-in Ex-

pander/Gate. The most extreme clockwise setting (100:1) puts

the process into Gate mode.

Six-segment gain reduction meters are provided in the ACS

for metering of the Exp/Gate on the currently selected channel.
See Chapter 14, Metering.

Expander/Gate Defaults and Ranges

Attack Increases or decreases the attack time for the built-in

The following table lists the default values for the Expander/Gate:

Expander/Gate.

Exp/Gate Defaults (defaults to Gate mode)

Gate Hold Increases or decreases the time the built-in gate

Parameter

Default

Minimum

Maximum

Threshold

0 dB

60 dB

+20 dB

Attack

1 ms

20 us

500 ms

Release

250 ms

10 ms

4 sec

Ratio

100:1 (Gate
mode)

1.25:1

100:1

(bypass).

Gate Hold

100 ms

10 ms

4 sec

Side-Chain Keying The Expander/Gate supports side-chain

Gate Range

20 dB

80 dB

0 dB

holds.
Release Increases or decreases the release time for the built-in

Expander/Gate.
Range Sets the maximum range or depth of attenuation of the

gate on that channel.

In/Out Takes the built-in Expander/Gate in or out of circuit

and key listen. For details, see Side-Chain Keys and Filters
on page 139.

Chapter 17: Dynamics 135

Adjusting Dynamics
Dynamics controls can be adjusted using the Channel Control section of the ACS, or using on-screen controls.

Adjusting Dynamics in Channel Control

The 8 dual-purpose rotary/switch encoders, function switches, In/Out switch, and two-row LCD in Channel Control provide a
unified, consistent set of controls to adjust built-in and plug-in dynamics processors for the currently selected channels.
To access comp/lim parameters:
1

Select one or more channels to target them in the ACS Channel Control section.

Press the Comp/Lim or Exp/Gate function switch in Channel Control.

User

Input

Plug-In

EQ Comp/Lim Exp/Gate

Aux Sends 1-8 Aux Sends 9-16

Exp/Gate

Comp/Lim

Dynamics switches in Channel Control

To adjust comp/lim parameters:
Rotate or push an encoder (1-8) corresponding to the displayed parameter. For example, rotate encoder 1 to adjust threshold;
press encoder 7 to engage/disengage Key HF.

To bypass the current dynamics processor:

Press the Channel Control In switch to toggle the process in/out.

The table below shows how compressor/limiter parameters are mapped to Channel Control encoders.
Channel Control parameter mapping for Comp/Lim (built-in or plug-in)
1

Threshold

Ratio

Attack

Knee

Release

Gain

Key hf

Key lf

In (green)
Out (off)

In (green)
Out (off)

Comp/Lim
(blue)
Rotate
Push
(Indicator
LED)

The table below shows how expander/gate parameters are mapped to Channel Control encoders.
Channel Control parameter mapping for Exp/Gate (built-in or plug-in)
1

threshold

ratio

attack

hold

release

range

Key HF

Key LF

In (green)
Out (off)

In (green)
Out (off)

Exp/Gate
(yellow)
Rotate
Push
(Indicator
LED)

136

VENUE SC48 Guide

Software Screen Dynamics Controls

Using the Dynamics Graph Display

The software screen lets you adjust built-in or plug-in dynamics on-screen, with simultaneous access to Comp/Lim and
Exp/Gate parameters (including their side-chain settings).

In addition to the on-screen encoders and buttons, you can

adjust Dynamics parameters using the Dynamics Graph.

The Inputs screen also provides the Dynamics Graph display.

The Dynamics Graph displays a composite response of the
compressor and gate that you can use to view and edit built-in
Dynamics parameters.

To adjust Dynamics parameters on-screen using the Graph

display:
1

Select a channel on-screen.

Make sure the Compressor/Limiter or the Expander/Gate is

in circuit, and targeted in the Dynamics Graph.

Drag to adjust
Dynamics
Graph

Side-chain

Comp/Lim

Dragging a handle in the Dynamics graph

If the channel EQ is currently the target of the Dynamics

Graph, click anywhere in the on-screen Compressor/Limiter
or Expander/Gate sections to change the display.

Exp/Gate

Drag handles in the on-screen Dynamics Graph to adjust

Threshold and Ratio.

Dynamics controls in the software screen

To adjust Dynamics parameters on-screen:
1

Select a channel on-screen.

Adjust the on-screen controls as needed:

For the built-in comp/lim or exp/gate, adjust the parameter on-screen.
For plug-ins, click the Insert slot displaying the Dynamics plug-in to go to the Plug-Ins page.

The Dynamics Graph does not support Fine adjust mode using the Fine switch.

Adjusting Dynamics Plug-Ins

Dynamics plug-ins map their threshold, ratio, attack, release,
gain, and filter controls to the corresponding encoders in the
Channel Control section of the ACS).
All plug-ins, including dynamics plug-ins that do not map
directly to Channel Control encoders, can be controlled using the Output encoders in Insert mode.

To reset an on-screen Dynamics parameter to its default value, do

one of the following:

Alt-click the control.

or

To adjust a Dynamics plug-in from the console:

Right-click the control and choose Reset.

1 Target the channel with the plug-in by pressing the channel

Select switch.

To reset an entire Dynamics section to its default settings:

Hold the Default switch and press the In switch in the Channel Control section.

Press the Comp/Lim or Exp/Gate function switch in the

Channel Control section. Comp/Lim lights blue when enabled;
Exp/Gate lights yellow.

or
On-screen, right-click anywhere on the Compressor/Limiter
or Expander/Gate sections (but not directly on an encoder or
button) and choose Reset.

Chapter 17: Dynamics 137

Press the Plug-In switch in the Channel Control section.

Plug-in parameters that match Channel Control parameters
are mapped to the encoders, and shown in the LCD in ALL
CAPS (upper case).

Input Direct Mode

Input Direct mode lets you completely bypass the built-in dynamics and EQ processing, and all inserts on Input Channels
and FX Returns.

Channel Control

To toggle Input Direct model:

Target the Input Channel by pressing its Select switch, and

make sure the Inputs page is displayed.

Click the Input Direct button in the (channel) Config section

in the upper right corner of the screen. When enabled, the Input Direct LED lights.

In
Thresh
E/G

User

Ratio

Input

Attack

Plug-In

Knee

Release

Gain

EQ Comp/Lim Exp/Gate

Key HF

Key LF

Aux Sends 1-8 Aux Sends 9-16

Plug-in switch

For more information, see Adjusting Input Controls on

page 71.

Dynamics Settings and Presets

Built-in Dynamics settings can be copied and pasted between
Input Channels. Settings can also be stored and loaded as dynamics Presets to archive and transfer settings.

Plug-in switch in Channel Control

Adjust plug-in parameters by pressing or turning the corresponding Channel Control encoders.

Copying and Pasting Dynamics Settings

To copy and paste dynamics settings:

Right-click anywhere in the Comp/Lim or Exp/Gate areas of

the on-screen Dynamics section and choose Copy Comp/Lim
Settings, or Copy Exp/Gate Settings.

Channel Modes Affecting Dynamics

Both the Channel Config settings for Input Direct mode and
Dyn Pre EQ affect operation of built-in Dynamics.
On VENUE SC48 systems, both of these settings are available
on-screen.
Dyn Pre EQ

By default, built-in Dynamics processing occurs before

built-in EQ processing in the signal chain of Input Channels.
This can be changed on a per-channel basis by toggling the
channels Dyn Pre EQ setting.

Copying dynamics settings

To toggle the Dyn Pre EQ setting of an Input Channel:

Target the Input Channel whose Dyn Pre EQ mode you want
to change by pressing its Select switch, and make sure the Inputs page is displayed.

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.

2 Click the Dyn Pre EQ button in the (channel) Config section

in the upper right corner of the screen. When enabled, the Dyn
Pre EQ LED lights.

Go to the channel where you want to paste the settings.

To copy and paste all of a channels built-in Dynamics settings:

1

Right-click in the on-screen Dynamics Graph and choose

Copy Dynamics Settings.

Select the Input Channel where you want to paste the settings.

Channel Config controls in the Inputs page

138

VENUE SC48 Guide

Right-click in the on-screen Dynamics Graph of the new

channel and choose Paste Dynamics Settings.

Presets for Built-In Dynamics

You can store and load dynamics settings as presets for
built-in and plug-in dynamics processors. Presets can be accessed from the control surface or on-screen.

Side-Chain Keys and Filters

The built-in Compressor/Limiter and Expander/Gate support
side-chain triggering.

Key In/Out

To save or load a preset:

Adjust dynamics settings on a channel (if saving a preset), or

select an Input Channel (to load a preset).

2 Click the Comp/Lim or Exp/Gate Presets icon on-screen. (The

Presets icons are in the Inputs screen Dynamics section.)

Presets Comp/Lim

Presets Exp/Gate

The Key In switch toggles the key signal in or out of circuit for
the built-in Comp/Lim or Exp/Gate.
To toggle the side-chain key signal in or out of circuit, do one of
the following:

Click the Key In button in the side-chain controls of the

on-screen Dynamics section.

When the Compressor/Limiter key is in, it uses its own source

channel (Self) as the key source signal.
When the Expander/Gate key is in, it can be self-keyed or use
any other available channel.

Built-in dynamics Presets buttons

If necessary, select the appropriate Presets folder by clicking

and selecting it from the Folder selector.
3

Presets Folder selector

Key Assign
The on-screen Key Assign selectors lets you select the
side-chain source for a gate (compressors are always keyed by
the channel signal) and its pickoff. The Key Source selector is
provided in the Expander/Gate controls.
Key Sources

The Compressor/Limiter is self-keyed. You can use any of the

following as the key source for the Expander/Gate:
Self
Any Input (Channel or FX Returns)
Any hardware input
You can also specify the pickoff source for the key signal
for input channels.
Previewing a preset in the Presets window
To select the key signal for the Gate on-screen:
4

Do one of the following:

To preview an existing preset, click its name in the Presets window.
To load the currently selected preset, press Enter or click
the Close box (X) in the Presets window title bar.

Select an Input Channel.

Click the E/G Side-Chain tab in the Dynamics section to select the gate.

To save the current dynamics settings as a new preset,

click New and enter a name for the preset file.
To cancel without changing settings, click Cancel.

Chapter 17: Dynamics 139

Click the Key Source selector and choose an available channel or bus.

Side-Chain Filters
Both the Compressor/Limiter and the Expander/Gate
side-chains provide two bands of EQ to band-limit the range
of frequencies in the key signal.
To activate a side-chain EQ in Channel Control:

Press the Key HF or Key LF encoder, as desired.

To enable a side-chain filter on-screen:

Click the side-chain filter In buttons.

LPF frequency
LPF in/out

Choosing a Key Source

HPF frequency
HPF in/out
Key Listen
Key In

To select a pickoff point for the key source signal:

Click the Source Pickoff selector and choose a pickoff source
for the selected key signal:

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.
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.
To engage Key Listen:

Click the Listen button in the on-screen Exp/Gate controls.

To disengage Key Listen:

Click Listen again. The Solo bus reverts to its previous signal
(soloed channels, or none). You can also press Solo Clear once
to turn off the any currently engaged Key Listen. Press Solo
Clear a second time to clear channel solos, if any.

140

VENUE SC48 Guide

Side-Chain controls in the software screen (Expander/Gate shown)

To adjust a side-chain EQ:
Turn the HPF or LPF encoder to adjust the frequency (each
filter ranges from 10 Hz to 20 kHz). On-screen, the LEDs
around the encoder light, and the current frequency value is
displayed on-screen.

Dynamics side-chain EQ defaults and ranges

Filter

Default

Minimum

Maximum

HPF

10 Hz, Off

10 Hz

20 kHz

LPF

20 kHz, Off

10 Hz

20 kHz

Side-Chain Limitations
Up to 32 side-chain Key signals can be routed from the following sources:
Channel pre/post fader pickoff
FX Return pre/post-fader pickoff
Channel Insert return
There are no limits to the number of side-chain Key signals
that can be routed from hardware inputs, Input Channel or FX
Return top-of-channel pickoffs, or channel insert returns.
Side-chain level may vary dramatically depending on
where the Key signal is sourced. The top of channel pickoff
can be as much as 18 dB louder than other pickoff points
and sources.

Chapter 18: EQ

The following EQ features are available:

A built-in EQ is available on each input channel and FX
return.
Graphic EQs are available for use on output channels.
EQ plug-ins can be used on input and output channels.
Built-In EQ

Different types of built-in EQ are available for input channels,

FX returns, and outputs.
Input Channels Each input channel provides a high-pass filter
plus a built-in four-band parametric EQ. EQ can be set for digital or analog mode. In digital mode only, the four-band EQ
provides selectable Bell/Shelf shapes for the Hi and Lo bands.
Input channel EQ can be configured as pre- or post-Dynamics
on a per-channel basis.
FX Returns Each FX return provides a built-in two-band EQ.

FX return EQ can be used in digital or analog mode; in digital

mode, the bands can be individually configured for Bell or
Shelf modes.
Graphic EQs

Output busses can have a built-in Graphic EQ assigned to

them.
EQ Plug-Ins

EQ plug-ins can be used on input and output channels. When

assigned in the plug-in racks, EQ plug-ins can be inserted on
individual mono or stereo channels or fed by busses. EQ
plug-ins can be adjusted using the Channel Control section of
the ACS, using the Output encoders (in Insert mode), or from
the on-screen Plug-Ins page. In addition, plug-in presets can
be saved and loaded.

Built-In EQ Parameters
HPF

Each Input Channel provides a fourth-order high-pass filter

(HPF) with adjustable corner frequency and in/out control.
The input HPF defaults to 20 Hz, out-of-circuit.
You can adjust HPF frequency and in/out state from the input
encoders, from the Channel Control section of the ACS, or
on-screen.
Input Parametric EQ

Input Channels and FX Returns provide built-in parametric

EQ. The following parameters are available in the built-in EQ,
and can be adjusted using the EQ controls in the Channel Control section ACS or on-screen.
EQ In

EQ In toggles the built-in EQ processor (all bands) in or out of

circuit on the selected channels. EQ In/Out can be controlled
from the ACS or on-screen.
EQ Status LED

The (red) channel EQ In LED indicates EQ in/out status as

shown in the following table.
Color

EQ Status

(none)

Not in circuit

Red

In circuit

Hardware Inserts
If your SC48 includes an IO16 option card, you can use it to insert a hardware EQ processor and control its in/out state and
insert position on-screen. See Chapter 20, Hardware Inserts.

Chapter 18: EQ 141

Analog and Digital EQ Modes

The Analog/Digital button toggles the built-in parametric EQ

between digital mode and analog mode, on a per-channel basis. Analog/digital mode switching is available on-screen.
Digital Mode A standard digital parametric EQ. Frequency

range of 20 Hz to 20 kHz and gain range of +/18 dB are available on all four 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 An EQ with a response modeled on that of an an-

alog 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.)
The HPF does not change when the EQ is switched between
Digital and Analog mode.
Gain, Frequency, and Q/Bandwidth

Each band of built-in parametric EQ provides the following

parameters, as available on Input Channels or FX Returns:
Gain Boosts or cuts the corresponding band. The LEDs around
the Gain encoder light from the center-point to the right
(boost), or from the center-point to the left (cut) to illustrate
current Gain.
Freq Sets the center or corner frequency for each band, as fol-

Band In/Out Each of the available EQ bands can be taken in or

out (bypassed) using their encoder (or on-screen).
The Gain knob for each band serves as the in/out control by
pushing the encoder. The indicator LED lights to indicate band
In. (Same for Input encoders and Channel Control encoders
when assigned to EQ).
On-screen, a dedicated In/Out switch is located just below
each Gain knob.

Bell and Shelf Modes for Hi and Lo Filters

In digital EQ mode, the Hi and Lo filters on Input Channels

and FX Returns can be toggled between Bell and Shelf modes.
When in Bell mode, the Hi or Lo filters function as a parametric EQ with variable Q. When in Shelf mode, the Hi module is
a high-shelf EQ, and the Lo module is a low-shelf EQ. For instructions on configuring these bands for Bell or Shelf mode,
see Adjusting EQ on page 143.

Channel Modes Affecting EQ

The following features affect operation of built-in EQ.
Dyn Pre EQ

By default, built-in Dynamics processing occurs before

built-in EQ processing in the signal chain of Input Channels.
This can be changed on a per-channel basis by toggling the
channels Dyn Pre EQ setting.

lows:
Freq sets the center frequency for the Hi-Mid and Lo-Mid
bands, and for the Hi and Lo filters when in Bell mode.
Freq sets the corner frequency for the Hi and Lo filters
when in Shelf mode. (See Bell and Shelf Modes for Hi
and Lo Filters on page 142.)
Turning the encoder clockwise increases the frequency for
that band; turning it counter-clockwise decreases the frequency. A single LED around the encoder illustrates the current encoder setting. The available range of each band depends on the EQ mode (Digital or Analog). See Control
Ranges for Built-In Parametric EQ (All Modes) on page 149.
Q (Q/Bandwidth) Controls Q (in digital mode) or bandwidth

(analog mode).
In Digital mode, Q determines Q factor. When the Hi or Lo
filters are in Shelf mode, the Q knob determines the Q of the
shelf.
In Analog mode, this control changes to a bandwidth control
which performs essentially the same function.

142

VENUE SC48 Guide

To toggle the Dyn Pre EQ setting of an Input Channel:

1 Target the Input Channel whose Dyn Pre EQ mode you want
to change by pressing its Select switch.

In the on-screen Channel Config section, click the Dyn Pre

EQ switch. When enabled, the Dyn Pre EQ switch LED lights.

Dyn Pre EQ button

Input Direct Mode

Input Direct mode lets you bypass the built-in dynamics and
EQ processing, and all inserts on Input Channels and FX Returns. For more information, see Adjusting Input Controls
on page 71.

Adjusting EQ
You can adjust EQ controls in input channel strips, in the
Channel Control section of the ACS, and on-screen.
To make fine adjustments to EQ parameters, hold the Fine
global modifier switch (located on the far left of the fader
panel) while making the adjustment.

Adjusting HPF Controls

Each input strip provides HPF frequency control. HPF can be
adjusted on each Input Channel using the Encoder HPF assignment switch and row of encoders.

Adjusting Channel Parametric EQ

Controls
The Channel Control section of the ACS provides a unified,
consistent set of controls for both built-in and plug-in EQ processing. Eight dual-purpose rotary/switch encoders control
EQ parameters and their settings.
Compatible EQ plug-ins can map their controls to the Channel
Control section, and all plug-ins can be controlled using the
Output encoders in Insert mode.
To access EQ parameters:

Select one or more channels to target them in the ACS Channel Control section.

Press the EQ function switch in Channel Control (it lights

green).

HPF for
Encoders

Press the In switch; when lit, the EQ is in circuit.

The LCD display identifies each parameter in the upper row

and each band (as available) in the lower row.
Channel Control

Encoders

HPF controls for Input Channels

To adjust HPF from an input strip:------*1

Bank the Input section to the desired channels.

Press the HPF Encoder Assign switch.

Rotate the appropriate channel Encoder to adjust HPF frequency. Press the appropriate encoder shaft switch to toggle
HPF in or out.

In

Gain Freq
Low

User

Input

Gain
Freq Gain Freq
Low Mid
Hi Mid

Plug-In

EQ Comp/Lim Exp/Gate

Gain

Freq
Hi

Aux Sends 1-8 Aux Sends 9-16

In switch

EQ

EQ controls in Channel Control (built-in 4-band shown)

HPF can also be adjusted in the ACS and on-screen.

To adjust HPF from the ACS:
1

Select the channel to target it in the ACS.

Press the Input function switch in the Channel Control section (this brings a collection of Input parameters to the Channel Control encoders).

Adjust the encoder labelled HPF:

Press the encoder to toggle the HPF in/out.
Rotate the encoder to adjust HPF frequency.

Chapter 18: EQ 143

EQ Controls in Channel Control

4-Band Parametric EQ (Digital Mode)

The table below shows how built-in EQ parameters (default digital EQ mode) are mapped to Channel Control encoders.
Channel Control parameter mapping for digital EQ (built-in or plug-in)
1

Lo Gain

Lo Freq
(or Q)

Lo Mid Gain

Lo Mid Freq
(or Q)

Hi Mid Gain

Hi Mid Freq
(or Q)

Hi Gain

Hi Freq
(or Q)

In (green)
Out (off)

Q (red, flash)
Freq (red)

In (green)
Out (off)

Q (red, flash)
Freq (red)

In (green)
Out (off)

Q (red, flash)
Freq (red)

In (green)
Out (off)

Q (red, flash)
Freq (red)

EQ (digital)
(green)
Rotate
Push
(Indicator
LED)
(Bell mode)

Q (green
flash)
Freq (off)

Q (green
flash)
Freq (off)

Shift+Push
Shelf mode

4-Band Parametric EQ (Analog Mode)

This table shows how parameters are mapped to Channel Control encoders when using built-in EQ in analog mode.
Channel Control parameter mapping for analog EQ (built-in or plug-in)
1

Lo Gain

Lo Freq

Lo Mid Gain

Lo Mid Freq
(or BW)

Hi Mid Gain

Hi Mid Freq
(or BW)

Hi Gain

Hi Freq

In (green)
Out (off)

n/a

In/Out

Bandwidth
(red, flash)
Freq (red)

In/Out

Bandwidth
(red, flash)
Freq (red)

In/Out

n/a

EQ (analog)
(green)
Rotate
Push
(Indicator
LED)

To engage or disengage a band:

Press the Gain encoder for that band to toggle it in/out.
When engaged, the indicator LED at the bottom of that encoder LED ring lights as shown in the tables.

Rotate the encoder to set the desired Q (or B/W).

Bell and Shelf Filters

The EQ filter type (Shelf or Bell) can be toggled from the console or on-screen using the mouse.

To bypass the current EQ module:

Press the Channel Control In switch.

To toggle between Bell and Shelf filters:

To adjust EQ gain and frequency parameters:

Adjust the Gain and Freq encoders for each band as needed.

To reset an EQ parameter to its default value:

Hold the Default switch and press the encoder.

To reset the entire EQ section (all bands) on a channel:

Hold the Default switch and press the In switch.

Toggling Control Between Q/Balance/Width

Freq and Q (BW) share the same encoder in each EQ band. The
built-in EQ and some plug-ins also provide Q (or BW/bandwidth) for Analog EQ mode.
To adjust Q (or B/W):
1 Press the <Freq> encoder for the desired band to place that
encoder in Q (or B/W) mode.
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VENUE SC48 Guide

Hold the Shift switch and press the encoder for Freq.
or

Click the on-screen Bell/Shelf selector for that channel.

The indicator LED at the bottom of that encoders ring indicates filter type and Freq/Q mapping as shown in the tables.
EQ Plug-Ins

Whenever a mappable EQ plug-in is present on a selected input channel, pressing the Plug-Ins switch brings the matching
parameters of that plug-in to the Channel Control encoders.
When mapped to a compatible EQ plug-in, the Channel Control In switch toggles the plug-in in/out (bypass).

Software Screen EQ Controls

To reset an on-screen EQ parameter to its default value, do one of

the following:

You can adjust the built-in EQ using dedicated on-screen buttons for band in/out and bell/shelf toggling. When the Channel Control section is in EQ mode, the on-screen EQ controls
for the currently selected channels have a green background.
The software screen also provides the EQ Graph display to adjust frequency and gain simultaneously.
In/Out

Q/Bandwidth
Bell/Shelf

Alt-click the control (or, hold the console Default(Alt)

switch and click the control).
Right-click the control and choose Reset.
To reset the entire EQ section (all bands) on a channel, do one of
the following:

Right-click anywhere in the EQ section on-screen (but

not directly on an encoder or button) and choose Reset

Digital/Analog
Gain
Band in/out

EQ Section.

Hold Default and click the on-screen EQ In button.

Hi

Using the EQ Graph Display

Frequency

Gain
Band in/out

The on-screen EQ graph lets you use the mouse to adjust frequency and gain for any available EQ band.
Hi Mid

Frequency

Gain
Band in/out

Lo Mid
EQ
graph

Frequency

Q/Bandwidth
Bell/Shelf

Gain
Band in/out

Lo

Frequency
Presets

Dragging handles in the EQ graph display

EQ controls in the software screen (4-band Input Channel EQ shown)

To adjust EQ on-screen using the Graph display:

To adjust parametric EQ parameters on-screen:

Select a channel on-screen.

Click the EQ In switch to put the EQ in circuit.

Select a channel on-screen.

Click the EQ In switch to put the EQ in circuit.

Adjust the on-screen controls by doing one of the following:

Drag the handles in the on-screen EQ graph display for each

EQ band (Lo, Lo-Mid, Hi-Mid, or Hi), as follows:

Turn an on-screen knob ( Gain, Q/Bandwidth, or Frequency) for each frequency band.

Drag a handle right or left to increase or decrease frequency.

Click to toggle any on-screen EQ switch (EQ in/out, band

in/out, or bell/shelf ).

Drag a handle up or down to increase or decrease gain.

Click a displayed value and type a new value.

Drag up or down in a value display to increase or decrease
the value.

Chapter 18: EQ 145

Graphic EQ for Outputs

The 31-Band Graphic EQ appears on-screen.

In-Circuit
Output

A built-in 31-band Graphic EQ can be inserted on any of the

following Output bus types: Mains, Groups, Auxes and Matrixes. The Graphic EQ provides +/ 12 dB of gain and constant Q.
Assigning a Graphic EQ to a mono channel uses one available
Graphic EQ. Assigning a Graphic EQ to a stereo channel uses
two available Graphic EQs.
Graphic EQs can be adjusted on-screen, or using the input faders, which provide access to two banks of 16 frequency bands
each.

Bands

31-band graphic EQ

Configuring Graphic EQs

Graphic EQ Controls

To configure the number of Graphic EQs:

Input faders 1-16 provide control of Graphic EQ frequency

bands. You can also adjust graphic EQ parameters on-screen.

Put the system into Config mode.

Go to the Options page and click the System tab.

Click the Edit button on-screen.

Choose the number of Graphic EQs from the pop-up menu.

You can choose to have 0, 8, 16, or 24 Graphic EQs.

GEQ
20630 Hz
80020kHz

Configuring the number of Graphic EQs

Inserting Graphics EQs on Outputs

To insert a Graphic EQ on an Output bus:
1

Target the bus by pressing its Select switch.

In the Outputs page, click the 31-Band Graphic Equalizer tab.

Click the Graphic EQ pop-up menu and choose an available

mono or stereo Graphic EQ.

Input fader banking and assignment switches

To enable the graphic EQ:

Target an Output bus with a Graphic EQ assigned. If no

graphic EQ is assigned, display the 31-Band Graphic Equalizer
tab in the Outputs page and assign one using the Graphic EQ
pop-up menu.

Click the In button on-screen to toggle in/out status. When

enabled, the In/Out switch LED lights.

To set a graphic EQ curve:

Press the Graphic EQ band switch or click on-screen to select

the appropriate bank of graphic EQ bands: (20 to 630 Hz,
800 Hz to 20 kHz). Inputs 116 are temporarily replaced with
frequency fader controls.

Adjust one of the 16 faders controlling the selected graphic

EQ bands.

Assigning a graphic EQ (mono)

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VENUE SC48 Guide

3 Press another Graphic EQ band switch or click on-screen to

select another bank of graphic EQ bands and adjust as needed.

To adjust graphic EQ gain:

Press the GEQ 80020kHz switch, then adjust the last encoder above that bank of GEQ faders.

or

EQ Settings and Presets

Built-in parametric and Graphic EQ settings can be copied and
pasted between channels. EQ presets can also be saved and
loaded to archive and transfer settings.

Use the on-screen Output control.

Resetting Graphic EQ Parameters

To reset a band to its default setting, do one of the following:

Copying and Pasting EQ Settings

To copy and paste an EQ setting:
1

Hold the Default switch and press the Select switch on the
fader corresponding to the graphic EQ band.

Right-click the individual band fader on-screen and choose

or

Reset.

Do one of the following:

To copy a parametric EQ setting, right-click the
on-screen EQ section or EQ graph (not on an encoder)
and choose Copy EQ Settings.

To copy a Graphic EQ setting, right-click the graphic EQ

display (not on a fader) and choose Copy GEQ Settings.

Alt-click the band on-screen.

To reset the entire graphic EQ to flat:

Right-click anywhere in the Graphic EQ section on-screen
(but not directly on a fader) and choose Reset GEQ Section.

Adjusting EQ Plug-Ins
EQ plug-ins can map their gain, frequency, and Q/bandwidth
controls to corresponding encoders in the Channel Control
section of the ACS.
When a plug-in provides additional parameters beyond those
that map to the dedicated EQ encoders, you can use the Output
encoders in Insert Mode and the Previous/Next switches.
All plug-ins, including EQ plug-ins that do not map directly
to dedicated EQ encoders, can be controlled using the Output encoders in Insert mode.
To adjust an EQ plug-in from the console:

EQ Reset/Copy/Paste pop-up menu

2

Go to the channel where you want to paste the settings.

Do one of the following:

To paste a parametric EQ setting, right-click in the new
channels 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, right-click in the new
channels Graphic EQ section and choose Paste GEQ Settings.

1 Target the channel with the plug-in by pressing the channel

Select switch.

Press the EQ function switch in the Channel Control section

of the ACS.

Press the Plug-In switch, next to the EQ function switch.

Adjust parameters by pressing or turning the corresponding

Channel Control encoders.

For more information, see Chapter 19, Plug-Ins.

Chapter 18: EQ 147

Presets for Built-In and Graphic EQ

You can store and load EQ settings to disk as Preset files. Presets can be used with built-in and plug-in EQ processors, including the graphic EQ. Preset files can be moved between systems and used for other Shows. Presets can be accessed from
the control surface or on-screen.
Check the Factory Presets folder for preconfigured settings.
To save or load a preset:
1

Adjust EQ parameters as needed.

Click the EQ Presets icon on-screen. (The Presets icon is

available in the Inputs screen EQ section, and in the graphic
EQ screen for an output channel).

3 Choose a Presets folder in the Folder display at the top of the

Presets window. If necessary, choose the appropriate Presets
folder by clicking and selecting it from the Folder pop-up
menu.

For information about creating and transferring folders

and files, see Chapter 21, Shows and File Management.

To save or load a preset for the Graphic EQ:

Go to the Outputs page for the channel on which the graphic

EQ is assigned. If necessary, click the 31-Band Graphic Equalizer tab to display the graphic EQ on that channel.
1

Click the graphic EQ Presets icon (above the EQ bands, next

to the In-Circuit button).

3 Choose a Presets folder in the Folder display at the top of the

Presets window. If necessary, choose the appropriate Presets
folder by clicking and selecting it from the Folder pop-up
menu.
4

Do any of the following:

To preview an existing preset, click its name in the Presets window.
To load the currently selected preset, press Enter or click
the Close box in the Presets window title bar.
To load a preset and close the Presets window, double-click the preset.
To save the current graphic EQ settings as a new preset,
click New and enter a name for the preset file.
To cancel without changing settings, click Cancel.

Presets window

Presets icon

EQ Presets window
4

Do any of the following:

To preview an existing preset, click its name in the Presets window.
To load the currently selected preset, press Enter or click
the Close box in the Presets window title bar.
To load a preset and close the Presets window, double-click the preset.
To save the current EQ settings as a new preset, click New
and enter a name for the preset file.
To cancel without changing settings, click Cancel.

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VENUE SC48 Guide

Control Ranges for Built-In Parametric EQ (All Modes)

Table 5. Control ranges for built-in parametric EQ
Band

Control

Range (Digital)

Defaults (Digital)

Range (Analog)

Defaults (Analog)

High
(Bell/Shelf)

Frequency

20 Hz to 20 kHz

10 kHz

2 kHz to 20 kHz

6 kHz

Gain

18 dB

0 dB

15 dB

0 dB

Q/Bandwidth

10 to 0.1

1.0

Shelf only

none

Frequency

20 Hz to 20 kHz

5 kHz

400 Hz to 8 kHz

2 kHz

Gain

18 dB

0 dB

15 dB

0 dB

Q/Bandwidth

10 to 0.1

1.0

0.1 to 2.0 octaves

0.2

Frequency

20 Hz to 20 kHz

1 kHz

100 Hz to 2 kHz

450 Hz

Gain

18 dB

0 dB

15 dB

0 dB

Q/Bandwidth

10 to 0.1

1.0

0.1 to 2.0 octaves

0.2

Frequency

20 Hz to 20 kHz

200 Hz

30 Hz to 200 Hz

80 Hz

Gain

18 dB

0 dB

15 dB

0 dB

Q/Bandwidth

10 to 0.5

1.0

Shelf only

none

High-Mid

Low-Mid

Low
(Bell/Shelf)

Fader Banks and Graphic EQ Frequency Bands

VENUE SC48 Fader Banks and Graphic EQ Frequency Bands
Bank 1
(20 to
630 Hz)
Fader

Freq

20 Hz

25 Hz

31.5 Hz

40 Hz

50 Hz

63 Hz

80 Hz

100 Hz

Fader

10

11

12

13

14

15

16

Freq

125 Hz

160 Hz

200 Hz

250 Hz

315 Hz

400 Hz

500 Hz

630 Hz

Fader

Freq

800 Hz

1000 Hz

1.25 kHz

1.6 kHz

2 kHz

2.5 kHz

3.15 kHz

4 kHz

Fader

10

11

12

13

14

15

16

Freq

5 kHz

6.3 kHz

8 kHz

10 kHz

12.5 kHz

16 kHz

20 kHz

n/a

Bank 2
(800 Hz
to 20 kHz)

Chapter 18: EQ 149

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VENUE SC48 Guide

Chapter 19: 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.
For complete information on VENUE-compatible plug-ins,
visit the Avid website (www.avid.com).

Plug-Ins Quick Start

Using Config and Show Modes for Plug-Ins

The current Console 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.
Plug-In actions that interrupt audio require Config mode.
For more information, see Config Mode and Show Mode
on page 30.

Before a performance, enable Config mode and do any of the

following:
Install plug-ins (see Installing and Authorizing Plug-Ins
on page 151).
Assign plug-ins to racks and rack slots (see Plug-In Racks
on page 156).
Assign plug-in input and output routing, including
side-chain routing (see Assigning and Routing Plug-Ins on
page 159).
View and adjust plug-ins using the console or software
screen (see Adjusting Plug-Ins on page 162).
Save and load plug-in settings as Presets, or with snapshots
(see Plug-In Presets and Snapshots on page 164).

Installing and Authorizing Plug-Ins

Plug-ins can be installed on systems but not on the Standalone
software.
Because installing plug-ins can interrupt audio throughput,
always install plug-ins before a performance.

Installing Plug-Ins
To install a plug-in:

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 performance.

Patch channels and busses to available plug-ins, re-assign

plug-in routing, or re-assign existing side-chain routing.
Adjust plug-in parameters from the ACS, Assignable Output
Encoders, or on-screen.
Save and load plug-in settings as Presets, or within snapshots.

Put the system into Config mode.

If installing from a CD-ROM, insert the installer disc into

the system CD-ROM drive.
Go to the Options page and click 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
CD-ROM or other media.
Installed Plug-Ins This list shows all plug-ins already installed
on the system. The plug-ins shown in plain text are available
to process audio. Plug-Ins listed in italics are disabled and unavailable (see Enabling and Disabling Installed Plug-Ins on
page 154).

Chapter 19: Plug-Ins 151

Available plug-ins

Installed plug-ins
Install

Device selector

Figure 13. Options > Plug-Ins screen

Click 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 loaded in the CD-ROM drive.

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 on page 154.)
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.
Installing, uninstalling, and deleting plug-ins are not supported using the Standalone software.

Device
selector

To uninstall a plug-in from the system but leave its installer

available:
1

Put the system in Config mode.

Go to the Options page and click the Plug-Ins tab.

Choosing a Device

Select a plug-in from the Plug-Ins to Install list on the left by

doing any of the following:

Click to select a single installer.

Right-click the specific plug-in name from the right-hand

list and choose the Uninstall option for the selected plug-in.

Shift-click to select multiple contiguous installers.

Right-click

Control-click to select or deselect installers one at a time.

6 Click Install to install the selected plug-ins. Once installed,
the plug-in appears in the Installed Plug-Ins list on the right.

Repeat as necessary to re-install all plug-ins needed on the

system.

Removing 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 CD or other media.
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Uninstalling a plug-in

To reinstall a removed plug-in:

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 manually.)

Put the system in Config mode.

Go to the Options page and click the Plug-Ins tab.

Click the Device selector and choose Previous Installs.

Device
selector

Quit the installer application and eject the installer disc.

8 Click the Return to D-Show shortcut on the desktop to

re-launch the VENUE software.

Go to the Options page and click the Plug-Ins tab. Verify that
the manually installed plug-in appears in the Console list of
available plug-ins.
9

Choosing a Device

Select the plug-in and choose Install. If the desired plug-in is

not listed, it must be re-installed from the original CD-ROM or
other media.

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.

Go to the Options page and click the Plug-Ins tab.

Select Previous Installs from the Device selector.

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 CD to update or reset
the system).
A plug-in without a VENUE installer may still be compatible. Consult the plug-in manufacturer for compatibility
information.
To install a plug-in manually:
1

Make sure all sound systems are shut down or muted.

Insert the plug-in installer disc into the CD-ROM drive.

Go to the Options page and click the System tab.

Authorizing Plug-Ins
After installing a plug-in, the system re-creates the list of
available plug-ins. Whenever the racks initialize, the system
checks authorizations for all installed plug-ins. If no previous
authorization for a plug-in is recognized, you will be
prompted to try a demo version, or authorize the full version
of the plug-in.
VENUE software supports challenge/response and iLok USB
Smart Key authorization, including pre-authorized iLoks and
iLok Authorization cards.
Challenge/Response Challenge/response authorization is only
valid for the single system the plug-in is currently installed
on. Challenge/response codes can be communicated using any
computer with Internet access.

It is not possible to connect a VENUE system to the Internet

directly.
iLok USB Smart Key Plug-Ins supporting web authorizations
through iLok.com can be authorized for your iLok Smart Key
from any computer with Internet access. This lets you take
your iLok and your plug-in authorizations anywhere, to use
plug-ins installed on any system.

For more information on using iLoks, refer to the iLok

Usage Guide on the Standalone Software CD or at the
Avid website (www.avid.com).
To authorize a plug-in:

When a plug-in authorization dialog appears, do one of the

following:

To try a demo of the plug-in, click Try.

or
To have the system recognize the required authorization
on your iLok, click Authorize. Insert your iLok Smart Key
into any available USB port when prompted.

4 Hold the Ctrl key and click Shutdown Console on-screen. Follow on-screen directions to exit to the Desktop.
5

Do not choose Internet Activation. Use Challenge/Response

or an authorized iLok Smart Key for plug-in authorization.

Copy the plug-in installer to the partition named User Data.

Follow the instructions on-screen to complete the software

authorization process.

Chapter 19: Plug-Ins 153

Enabling and Disabling Installed Plug-Ins

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.

The Installed Plug-Ins list shows Disabled plug-ins in italics.

Plug-Ins can be manually disabled and enabled to manage DSP
resources, troubleshoot possible conflicts, and to manage
plug-in availability.
To globally disable or enable a plug-in:

Click to select the plug-in name in the Installed Plug-Ins list,

at the right of the Options > Plug-Ins tab.

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.

Right-click the plug-in and select whether to disable or en-

able 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
isnt installed 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.

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.

Plug-in Version Checker

VENUE software includes a comprehensive database of
plug-in information, and this info can be used to greatly simplify the process 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).
In addition to using the plug-in version checker, also check
the VENUE plug-in pages on the Avid website
(www.avid.com) for the most up to date information
To view plug-in version information:
1

Go to the Options > Plug-Ins page.

Select a plug-in in either list ( Plug-Ins to Install, or Installed

Plug-Ins).

Version information is not shown for a multi-selection. Select an individual plug-in to view its version information.

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 Click 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.

3

Click Remove to confirm the operation, or click 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.

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VENUE SC48 Guide

Info about a recommended update in Options > 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.

If you choose to install a plug-in for which there is a critical or

recommended update, the system will ask you to confirm the
installation procedure.

USB Ports for iLoks

VENUE SC48 provides five USB ports, any of which can be
used to connect an iLok. Multiple iLoks can connected at one
time.
For more information, see Chapter 2, Configuring and Connecting SC48.

Overview of Plug-Ins
Dialog shown when attempting to install a plug-in that has a known
newer version.

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-Ins screen displays the plug-in Racks, where the majority of plug-in set up features are located.
To access the Plug-Ins page:
Press the Plug-Ins switch in the View Mode section (or click
the Plug-Ins tab). By default, the Plug-Ins page displays all
four racks, which are empty until plug-ins have been assigned.
(See also Jump To Plug-Ins on page 163.)

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 key disk into any available USB port on the console.
2

Go to the Options > System page.

Click the Info button.

Export VENUE System Information button in Options > System

4

Plug-In racks (no plug-ins assigned)

You populate the racks by assigning plug-ins in rack slots.

The following diagram shows an example of the racks with
plug-ins assigned.
During a performance, plug-ins assigned in the racks can be
inserted and routed on-screen and their parameters adjusted
from the control surface or on-screen.

Do any of the following:

If you have more than one USB key disk connected, make
sure the correct USB key disk is selected. If it is not, click
Next Disk to cycle through each available disk until the
correct one is selected.
Click Save to proceed and export system info to the selected USB disk.
Click Cancel to dismiss the dialog without exporting.

Click OK to confirm the export procedure.

6 Remove the USB key disk. Transfer the exported file to a personal computer for printing, formatting, archiving or distribution.

If viewing the System Info document from a computer with

internet access, use the included links to check for plug-in updates.

Chapter 19: Plug-Ins 155

Plug-In Racks
The Plug-Ins page provides four plug-in racks. Each of the four racks has 10 slots into which you can load a plug-in. The four
different racks can be viewed all at once, individually, and in varying zoom levels.

Click to display

Racks 14

Zoom Toggle
Presets
Push-pin

Rack slots

Mode and Status

Figure 14. Plug-In racks and rack slots, Main view, with custom rack names shown.

Naming Plug-In Racks

Rack Views

By default, the racks are named Rack 1, Rack 2, Rack 3, and

Rack 4. You can rename each rack as needed.

The Plug-Ins page can be displayed in Full or Zoom views.

To rename a plug-in rack:

1

Double-click 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.

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.

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VENUE SC48 Guide

Full View

The default view of the rack screen is Full view, in which all
four racks are shown (see Figure 14). 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.

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.

Within each rack slot, color outlines appear around each

plug-in to indicate the type of plug-in currently targeted on
the control surface. The following colors are used:
Outline Color Coding of Rack Slots
Color
Outlin
e

Indication

Green

An EQ plug-in is mapped to the console

Blue

A Comp/Lim plug-in is mapped to the console

Yellow

An Exp/Gate plug-in is mapped to the console

Red

A plug-in is mapped to the Assignable Output Encoders

(Insert mode)

Display of Unavailable or Inactive

Plug-Ins
Plug-In display

View Toggle

Zoom view, with a plug-in window open on-screen

To toggle Full or Zoom view modes, do one of the following:
Press the Plug-Ins switch (in the View Modes section), or
click the View toggle switch (upper right corner of the rack).

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.

Zoom/Full view toggle

or
Double-click a plug-in icon in any rack view to open that
plug-in window in Zoom view.

Place the cursor over the Tool Tips icon to see an explanation of why the plug-in is not available. To view DSP
resource allocation, see DSPs Available for Plug-Ins on
page 54.
Unavailable Plug-Ins

VENUE provides other ways to jump to a plug-in view. For

more information, see Jump To Plug-Ins on page 163.

Identifying Rack Slots

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 greyed out, and the rack slot
Power switch displays a yellow switch LED.

The racks indicate which plug-in is currently targeted by highlighting its rack slot controls in blue.

Targeted plug-in
(rack slot
highlighted in
blue)

Unavailable plug-in
Indication of an unavailable plug-in

For more information, see Installing and Authorizing

Plug-Ins on page 151.

Highlighted rack slot indicating targeted plug-in

Chapter 19: Plug-Ins 157

Inactive Plug-Ins

In/Out (bypass)

When a plug-in has been manually made inactive, the plug-in

icon is greyed out. Plug-Ins can be made inactive manually,
letting you retain their assignment and settings in the rack
while freeing up their DSP resources for other tasks.

The In/Out switch takes the rack slot in or out of circuit (bypasses the slot and any plug-in assigned to it).
Input

The Input pop-up menu determines plug-in input (source).

Use this menu to designate the plug-in as a channel insert or a
bus processor by choosing from the Inserts or Bus sub-menus.
For more information, see Routing Plug-Ins on page 160.
Indication of an inactive plug-in

For more information, see Active and Inactive Plug-Ins on

page 159.
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.

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 (12). 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 Insert/Bus Output selector can be used to assign
the output routing of the plug-in to a channel or bus.
Channel Insert or Bus Output

Scoped (Snapshot menu red)

Indication of a scoped plug-in

For more information, see Plug-In Presets and Snapshots on

page 164.

Rack Slots
Each rack provides 10 plug-in slots. You can assign any installed plug-in to any available rack slot.

The Channel Insert/Bus Output pop-up menu 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 (14). The letter I is shown before the insert
number (for example, I1 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 menu
becomes the Output selector used to select the destination for plug-in output.

Current routing assignment

Input (source)
Channel Inser
or Output
Plug-In
selector

Power
In/Out

Snapshots
Assigned plug-in

Channel Insert

A rack slot and its controls, with an assigned plug-in shown

Each rack slot provides the following controls to select and

manage plug-ins:
Power (Config Mode Only)

Power turns the rack slot on or off. When off, the plug-in consumes no DSP.

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VENUE SC48 Guide

Bus Output

A mono plug-in inserted on a channel (at left) and a stereo plug-in

assigned as a bus processor (at right)

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
Assigning and Routing Plug-Ins on page 159.

Snapshots Menu

Plug-In Formats

The Snapshots menu provides tools to manage snapshot-related plug-in features from within the Plug-Ins screen. Using
the Snapshots menu, you can quickly check to see which existing snapshots refer to the current plug-in, as well as create,
update, or remove snapshots.

Plug-Ins inserted on channels must be symmetrical (in other

words, mono in/out or stereo in/out). Plug-Ins on busses can
be asymmetrical (mono-in/stereo or multichannel out).

Side-Chain Selector

The Side-Chain selector appears near the top of the Rack view
when you select a plug-in that supports side-chain or key input. In Config mode, the Side-Chain 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
Side-Chain Routing on page 161.

Assigning and Routing Plug-Ins

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.
Before a plug-in can be assigned, it must be installed. See
Installing and Authorizing Plug-Ins on page 151.

Assigning Plug-Ins to Rack Slots

Mono Can be used as inserts only in mono strips or mono

Auxes, mono Groups, or Matrix busses or on the C/M bus.

Stereo Can be used as inserts in stereo strips, stereo-linked
Auxes, stereo Groups, PQ busses (which are always stereo)
and across the LR busses.
Other (Mono In/Stereo Out) Can be used on busses for delay,

reverb, and similar processing.

Moving and Copying Plug-Ins
(Config Mode Only)

To move or copy a plug-in in the rack, drag the plug-in icon to

a new rack slot. A pop-up menu appears offering three
choices: Cancel, 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

To assign a plug-in:
1

Put the system into Config mode.

Go to the Plug-Ins page.

Click the Plug-In selector on an empty rack slot. (You can also
use an already assigned rack slot to change a plug-in assignment.)

Choose an available plug-in from the Plug-In selector

sub-menus. Only plug-ins that are installed will be available.

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

in the destination rack slot, that plug-in is deleted. When the
plug-in in the destination rack is deleted, any routing or references to the deleted plug-in in existing snapshots will be automatically cleared.

Active and Inactive Plug-Ins

To toggle the active/inactive state of a plug-in:

Plug-In selector menus

If the plug-in is not installed or there are insufficient DSP resources available, the plug-in will appear as unavailable, or inactive.

Click the appropriate rack slot Power switch. When active,

the Power switch is lit green. When a plug-in is unavailable
(and inactive), the Power switch is lit yellow.

Power

Place the cursor over the plug-in to display a Tool Tip that
explains why the plug-in is unavailable or inactive.
Indication of an inactive plug-in

Chapter 19: Plug-Ins 159

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.
Using Plug-Ins as Channel Inserts

To insert a plug-in on a channel from the Plug-Ins page:

Make sure the plug-in is already assigned to a rack slot. (See

Assigning and Routing Plug-Ins on page 159.)

2 Click the Input (source) selector in the rack slot and choose
a channel from its Inserts sub-menu.

Each VENUE SC48 channel provides four slots for channel inserts. Signal from the channel is routed to the insert and returned to the same channel. You can assign plug-ins to specific channel insert points from the Plug-Ins screen or from
the Input screen.
Inserting a rack slot on a channel from the Plug-Ins page
To insert a plug-in on a channel from the Inputs or Outputs page:
1

Go to the Input or Output screen.

2 Click the first available Channel Insert selector and 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 already assigned as channel inserts are
shown with their insert assignment.

The rack slot automatically identifies and connects to the first

available insert slot (14) on the selected channel. The Channel Insert selector shows the current insert position.

Channel Insert selector for a plug-in rack

If no insert slots are available on the channel, the selector displays a question mark.
Using Plug-Ins as a Bus Processor

Clicking the Channel Insert selector (top)

3

The plug-in appears in the Inserts list for that channel.

Insert name

An assigned channel insert

To open the window for an inserted plug-in, click its name in

the channel Inserts list.

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VENUE SC48 Guide

Plug-Ins can be used on busses 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,
or Main bus (including Monitor output), or an Input Channel
Direct Out, as the plug-in input source, then assigning the
output of the plug-in to an Input Channel or FX Return, or to
a hardware output, as follows:
Return bus-fed plug-ins to an input or FX Return 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 screen.

Make sure the plug-in is installed and assigned to a rack slot.

Plug-in Input selector

Routing Channel Direct Outs to Plug-Ins

You can route the Input channel Direct Outs to plug-ins. This
lets you directly feed plug-ins from individual channels to
preserve Aux busses for other uses, with control over send
level using the channel Direct Out level control.

A plug-in assigned to a rack slot

3 Click the Plug-In Input selector at the top of the corresponding rack slot, and choose an available bus from the Input
sub-menus.

Assigning a channel Direct Out as a plug-in input source in the

Plug-Ins page

Assigning plug-in Input source to a Group bus

When a channel Direct Out is routed to a plug-in, it follows the

one global 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
channels Direct Out to route that channel to both a Pro Tools
recording option and to a plug-in.
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.

Click the Plug-In Output selector and choose an input, FX Return or hardware output.
4

Side-Chain Routing

VENUE SC48 supports side-chain (key) processing for

plug-ins that support side-chain triggering.
Side-chain routing is not stored in snapshots.

Assigning plug-in output to an FX Return

When a bus-fed plug-in has both its input source and output
assigned, it appears similar to the following in the rack:

The Side-Chain selectors appear across the top of the plug-ins

screen. You must be in Config mode to establish or remove a
side-chain assignment. Once established, side-chain routing
can be changed (but not added or removed) in Show mode.

Click to select Click to specify

Key (side-chain) side-chain pickoff
source

A bus-fed plug-in in the rack

Side-Chain controls
To assign side-chain routing to a plug-in:
1

Select a plug-in that supports side-chain processing.

Put the system into Config mode to display the Side-chain

tools.

Choose the side-chain source signal from the Key Source

pop-up menu.
3

4 Choose the pickoff point (tap) for the side-chain signal from
the Source Pickoff pop-up menu.
Chapter 19: Plug-Ins 161

To adjust a plug-in from the console:

Adjusting Plug-Ins

Plug-Ins can be adjusted from the console or on-screen.

If the desired plug-in is being used as a channel insert, select the channel or bus on which the plug-in is inserted.

On the Console
VENUE SC48 lets you control plug-ins in the Channel Control
section of the ACS (EQ and Dynamics only) and in the Output
encoder section.
EQ Plug-Ins

EQ plug-ins can be selected and adjusted in the Channel Control section of the ACS. See Adjusting EQ Plug-Ins on
page 147.

Do either of the following:

If the desired plug-in is being used as a bus processing

plug-in, bank to and select the FX Return or other channel assigned as the plug-in output.
2 Press the Insert Mode switch, located near the Output encoders. The first page of plug-in parameters is mapped to the eight
Output encoders.

To reset a parameter to its default value, hold Default/Alt

while rotating or pushing an encoder.

To adjust with greater resolution, hold Ctrl/Fine while rotating an encoder.

Dynamics Plug-Ins

Dynamics plug-ins can be selected and adjusted with the dedicated controls in the Dynamics section in the ACS. See Adjusting Dynamics Plug-Ins on page 137.
Output Encoders

5 Press Prev Page or Next Page to bank to other plug-in parameters.

To move to the next plug-in on that channel or bus:

The Output encoders can be placed into Insert mode to adjust

any selected plug-in. Plug-in parameters map to the eight encoders and their switches; additional parameters are accessed
with the Previous Page and Next Page switches.

Press the Next Plug-In switch.

Display of Plug-Ins in Insert Mode

While in Insert Mode, the Output LCD displays the value and
name of the 8 currently banked plug-in parameters in the upper and lower row, respectively, for each parameter.

Output Encoders

Insert Mode
Next Plug-In

In this default Insert Mode view, adjusting an Output fader

temporarily shows fader level in the lower row of the Output
LCD for that channel, replacing the parameter name display.
Alternate Insert Mode View

You can use an alternate view to have Insert Mode display parameter values in the upper row and the associated bus name
in the lower row.
To view values and bus names for the Output encoders in Insert
Mode:

Press Default/Alt+Insert Mode.

Using the Source Switch

Encoders, Insert mode and Next Plug-In switches in the Output
section

The Source switch toggles Input displays to show the names of

bus-fed plug-ins routed to a channel. Use the Source switch to
quickly identify which FX Returns or other channels are being
used as plug-in returns.
To view encoder values and bus names for Input or FX Return
channels:
Press the Source switch, located in the Display section to the
left of the input Mute/Solo/Select switches.

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Bypassing Plug-Ins

To jump to a plug-in on a bus:

Bank to the FX Return or other channel type assigned as the

plug-in output, or bank to the output feeding the plug-in.

To bypass a plug-in:
1

Select the channel on which the plug-in is inserted.

Select the channel to display it in the Inputs or Outputs

screen.

Click the In/Out switch for the plug-in to toggle between

in-circuit/out-of-circuit. When the switch LED is lit, it indicates that the plug-in is in-circuit. When unlit, the plug-in is
out-of-circuit (bypassed).
2

Click the routing displayed beneath the Channel Name.

In

Jumping to a plug-in on an FX Return

Out
Unassigned

Plug-Ins Screens and Channel Selection

When jumping to a plug-in, display depends on the type of

plug-in routing, as follows:
In/Out

LED indication of in circuit and out of circuit (bypassed) inserts

Software Screen
The software screen can also be used to patch, route, or
re-route plug-ins during a performance, even while in Show
mode.
Plug-Ins must already be installed on the system, and assigned to a rack slot, to be available while mixing. See Assigning Plug-Ins to Rack Slots on page 159.

Channel Inserts If the Plug-Ins screen is in Zoom view while

you select a channel, the last selected plug-in for that channel
is automatically selected 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 FX Return)
the plug-in feeding that FX Return is displayed.

Pinning a Plug-In View

The Input and Output screens let you jump to a specific

plug-in insert to adjust it on-screen.

It is possible to decouple the plug-in view from the console 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 console. This capability is useful any time you want to always display an important plug-in (such as an analysis plug-in
or primary EQ).

To jump to a plug-in insert from the Inputs or Outputs screen:

To pin a plug-in view:

Jump To Plug-Ins

Select a channel to display it in the Inputs or Outputs screen.

Click the plug-in name shown in the channel Insert section.

Bring the desired plug-in into the main plug-in view (use the
channel Select and Insert Mode switches, or double-click the
desired plug-in in the rack).

Click 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.
2

Click

Jumping to a plug-in on a channel insert

When enabled, the Push-Pin icon appears lit. This indicates that the current plug-in will remain on-screen and
will not lose focus, even if another channel is targeted.
When not enabled, the Push-Pin icon appears unlit.
Plug-in view follows control surface selections.

Push-Pin plug-in view icon

Chapter 19: Plug-Ins 163

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.
Presets can be applied to multiple Shows, while snapshots
apply only to the Show file in which they are stored.

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 click the Transfer tab.

Click the Preset Folders icon.

Click the New button at the left of the screen.

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.

Click the Presets icon in the Plug-Ins screen.

In the Presets window, click New.

Enter a custom name for the Preset.

To load a Preset into a plug-in:

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.)

Select the channel containing the plug-in, and target the desired plug-in (press the Insert Mode switch, or click the
plug-in on-screen).
2

Click the Presets icon in the Plug-Ins screen.

Single-click 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-click a
name in the Presets list.
Click Cancel to close the Presets list without changing
settings.

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VENUE SC48 Guide

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.
Snapshots do not store or recall Presets. Snapshots store
plug-in settings as they were when the Snapshot was created
or saved.

Each rack slot in the Plug-Ins screen 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 snapshot 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 refer-

ence, 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 in the currently targeted snapshot, or from all currently selected snapshots.

See Chapter 22, 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 associated snapshot is recalled, letting you automate delay
times in plug-ins that support Tempo Sync. See Adding
Tempo Data to Snapshots on page 196.

Plug-Ins and VENUE Standalone Software

You can use VENUE Standalone software to preconfigure

plug-in routing and in/out state, with the following limitations:
Plug-Ins cannot be installed in the Standalone Software.
A Show file must be transferred from a console on which
plug-ins were previously installed.
Once a Show file containing plug-ins has been transferred to
the standalone software, the following rules apply:
Plug-Ins can be placed in racks and routed in Standalone
mode.
Snapshots can be created, loaded, and stored.
Plug-In settings cannot be adjusted.
Plug-In Presets cannot be saved or loaded.

Plug-In Levels
VENUE systems display levels in meters in dBVU, with
0 dBVU =+4dBu analog out = 20dBFS.
Internally, VENUE SC48 provides up to 48-bit processing for
built-in EQ and dynamics. Plug-Ins provide up to 24-bit processing, with level matching circuitry and logic ensuring maximum fidelity and sonic performance throughout the entire
signal path. Due to variances in how plug-in metering is implemented by different manufacturers, performance may vary
with regard to plug-in gain reduction meters and their relative
levels.
When using side-chain routing, be aware of potential level differences between Input Channel pickoff points. For more information, see Side-Chain Keys and Filters on page 139.

Plug-In DSP Usage

Plug-In Latency and Processing Delay

Plug-Ins utilize DSP resources when they are assigned to a

rack slot, and that rack slot is powered on. You can turn off
unused plug-ins to reclaim their DSP by making them inactive, or by removing them from the system.

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

Plug-In availability is limited to the available DSP resources.

Viewing Plug-In Latency

The amount of DSP available for plug-ins also varies with the
current system configuration settings for Input Channels, FX
Returns, and graphic EQs. Higher number of Input Channels
leave fewer DSP resources for plug-ins, as shown in the Options > System Config screen.

Cumulative channel processing delay can be viewed by

right-clicking the Inserts area of the selected channel. The cumulative delay includes latency reported by all inserted
plug-ins, signal routing and the known hardware insert delay,
if applicable.

Initializing the Plug-In Racks

The racks are initialized (or re-initialized) whenever the system is first powered on, whenever the FOH Rack is restarted,
after installing 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.

Total delay

Viewing cumulative delay by right-clicking the Inserts section

Individual plug-In processing delay can be seen by right-clicking the plug-in icon in the rack. Use the number 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).

Chapter 19: Plug-Ins 165

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VENUE SC48 Guide

Chapter 20: Hardware Inserts

(VENUE SC48 with IO16 Option Card Only)

The IO16 card provides SC48 with 8 channels of analog input and output, and 8 channels of digital input and output. If you have
added an IO16 card to your VENUE SC48, you can connect digital and analog outboard equipment and use them as hardware inserts. Hardware inserts can be used for external processing on individual input channels, FX returns, Groups, Auxes, Matrixes,
and Mains.
Digital I/O 18

In

AES 1 2

Out

In

AES 3 4

Out

In

Analog I/O 916

AES 5 6

Out

In

AES 7 8

Out

10

11

12

13

14

15

16

10

11

12

13

14

15

16

Analog Out
+4 dBu

IO16

Analog In
+4 dBu

Figure 15. Hardware insert connectors on the IO16 card.

This chapter explains how you can use IO16 for hardware insert processing. You can also use IO16 for additional analog or digital
input sources or output destinations (just like other hardware I/O).

Connecting External Effects Units

Outboard gear is made available to the system by connecting
its inputs and outputs to connectors on the IO16 card. Hardware inserts can then be assigned on channels similarly to inserting plug-ins.
To connect outboard gear for use as a hardware insert:

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:

Connect the external device inputs to analog or digital Out

connectors (Analog 916, or AES 18) on the IO16.

1 Go to the Inputs or the Outputs page and target the channel

where you want to assign the hardware insert by pressing the
channel Select switch.

2 Connect the external device outputs to the corresponding In

connectors on the IO16 card. For example, signal taken from
IO16 AES Output 1 returns on IO16 AES Input 1.

Digital inputs on the IO16 card offer sample rate conversion

(similar to the 2-Track AES inputs). For more information,
see About Digital Input and Sample Rate Conversion on
page 16.

In the Inserts section, do one of the following:

Click 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
Click the Hardware Insert button to go to the Inserts page
of the Patchbay, and assign the insert from the Patchbay.

Click to
assign

Click to
go to the
Patchbay

Assigning a hardware insert in the Outputs page

Chapter 20: Hardware Inserts 167

To assign a hardware insert from the Patchbay:

Go to the Patchbay and click the Inserts tab. The Hardware

Tab for the IO16 is shown.
1

Click the Channels, FX Returns, or Outputs tabs 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 enabled.

Click in the channel grid to assign the insert input/output

number (listed across the top) to the channel where you want
to assign the insert (listed on the left). On the IO16 card, channels 18 are the AES digital connectors; channels 916 are analog.

Assigning a hardware insert in the Patchbay Inserts page

The Patchbay Inserts tab shows the name of the channel and
its destination at the current cursor location. The Insert location is also displayed in the Inserts section in the Inputs or
Outputs page.
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, for each channel.
To set the hardware insert location:

Go to the Inputs or Outputs page and select the channel

where you want to set the hardware insert location.

In the Inserts section, click the hardware insert indicator so

that it lights red.

Click to set
HW Insert
location

In/Out
Setting a hardware insert location

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VENUE SC48 Guide

Activating and Bypassing Hardware

Inserts
You can toggle hardware inserts in/out on-screen.
To activate or bypass a hardware insert on-screen.
1 Target the channel where you want to activate or bypass the
insert by pressing the channel Select switch.

Click the In/Out button for the HW insert. The button lights
when the insert is activated (in circuit).

Part V: Shows

Chapter 21: Shows and File Management

Data can be stored, recalled and transferred between VENUE

systems. 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, snapshot, and events.

Preset Files These files are used to store settings for channel

strips, built-in processors and plug-ins, and Recall Safe Scope

Sets.

In the Show Folders column, click the New button.

Type a name for the Show Folder and press Enter.

Duplicating Show Folders

To duplicate a Show Folders:
1 In the Show Folders column, click a Show Folder name to select the folder.
2

Click the Duplicate button.

Console Setting Files These files are used to transfer or back

up the current state of the VENUE SC48 system.

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.

The folder and all of the Show files it contains are duplicated.
You can also duplicate folders by right-clicking a Show
Folder name and choosing Duplicate.
Renaming Show Folders
To rename a Show Folder:

Creating Shows
A Show file contains all configuration, signal routing, mixer
settings, plug-in information, snapshots, and other operational settings. Shows are grouped together in Show Folders.

1 In the Show Folders column, click a Show Folder name to select the folder.
2

You can also rename Show Folders by right-clicking a Show

Folder name and choosing Rename, or by double-clicking a
Show Folder name.

Show Folders
Show Folders contain Show files. You can create and manage
Show Folders from the Save tab of the Filing page.

Click the Rename button.

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, click a Show Folder name to select the folder.
2

Click the Delete button.

You can also right-click a Show Folder name and choose Delete to delete the folder.

Show Files
Show Folders and Show files in the Save tab of the Filing page

Creating Show Folders

To create a new Show Folder:
1

Creating and Saving Show Files

When you create a new Show file, it captures the current state
of the system. Show files are automatically saved when they
are created or overwritten.

Go to the Filing page and click the Save tab.

Chapter 21: Shows and File Management 171

To create a new Show file:

1

Go to the Filing page and click the Save tab.

In the Show Folders column, select the Show folder where

you want to save the Show.

In the Shows column, click the New button. The new Show
file captures the current state of the system.

Deleting Show Files

To delete a Show file:
1

In the Shows column, click a Show file name to select it.

In the Shows column, click the Delete button.

You can also right-click a Show file name and choose Delete to delete the file.

Type a name for the Show file and press Enter.

Double-click 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.
Show files are automatically saved when they are created;
no further action is required to save them.

Loading Shows
You can load Show files using the Load tab of the Filing page.
Shows cannot be loaded onto the destination VENUE system
directly from the portable storage device, but must first be
transferred to the system before loading. SC48 must be in
Config mode to load Shows.

To update or overwrite an existing Show file:

Loading a show automatically replaces the current console

settings with those of the loaded show, and may interrupt
audio throughput.

In the Shows column, 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.

Show Folders and Show files in the Load tab of the Filing Page
Right-clicking a Show file name in the Shows column

To load a Show file:

Duplicating Show Files

Put the console into Config mode.

To duplicate a Show file:

Go to the Filing page and click the Load tab.

In the Shows column, click a Show file name to select it.

In the Shows column, click the Duplicate button.

You can also right-click a Show file name and choose Duplicate to duplicate the file.

Renaming Show Files

In the Show Folders column, click a Show Folder name to select the folder. Any Show files in the folder are displayed in the
Shows column.

In the Shows column, click a Show file name to select it.

Click the Load button.

In the Shows column, click a Show file name to select it.

The system loads the new Show file, replacing the current system configuration, routing, and control settings with those
contained in the new file.

In the Shows column, click the Rename button.

System Configurations and Loading Shows

To rename a Show file:

You can also right-click a Show file name and choose Rename, or double-click the Show file name to rename the
file.
3

172

Type a new name for the Show file and press Enter.
VENUE SC48 Guide

Show files include VENUE system configuration settings

(such as the type of console (VENUE SC48) or control surface
(VENUE Profile, or a VENUE D-Show Main and Sidecars); the
number of Mix Engines; Number of Input Channels, FX Returns, and EQs; Aux and 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.

Creating Preset Folders

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. When the Show file is
loaded, the system restarts in the new configuration.

To create a new Preset Folder:

Go to the Filing page and click the Transfer tab.

2 Click the Preset Folders icon. A list of Preset Folders appears

in the left column.

If a Show file differs from the current configuration and cannot be loaded on the system in its entirety, the configuration
information appears in red text in the Info area.
If a Show configuration is too large for the current system,
mix elements are dropped in following order:
1

Plug-Ins are deactivated

Graphics EQs are dropped

Input Channels are dropped

Preset Folders icon in the Transfer tab of the Filing page

Working with Presets

In the left column, click the New button.

Type a name for the Preset Folder and press Enter.

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:

The new Preset Folder is available in the Preset window for

each processor or plug-in.

Built-in 4-band EQ, 31-band Graphic EQ, Compressor/Lim-

Duplicating Preset Folders

iter, Expander/Gate, and Input Channel Presets

To duplicate a Preset Folder:

Plug-In Plug-ins Settings Files

In the left column, click a Preset Folder name to select it.

Scope Sets Settings for Recall Safe configurations

Click the Duplicate button.

For information on saving, previewing and loading built-in

dynamics and EQ presets, see Chapter 17, Dynamics and
Chapter 18, EQ. For plug-in settings, see Chapter 19,
Plug-Ins. For Scope Sets, see Chapter 22, Snapshots. For
Input Channel Presets, seeChapter 5, Navigating and Selecting Channels,

Preset Folders
Preset Folders contain Preset files. Each of the built-in processors (Compressor/Limiter, Expander/Gate, 4-band EQ,
31-band Graphic EQ) and each plug-in has its own Factory Defaults folder. Additional folders are provided for Scope Sets.
You can create additional Preset Folders for each processor or
plug-in and store new Presets in them. These folders can then
be transferred to a portable storage device for transfer to other
VENUE systems.

The folder and all of the Preset files it contains are duplicated.
You can also right-click a Preset Folder name and choose
Duplicate to duplicate the folder.
Renaming Preset Folders
To rename a Preset Folder:
1

In the left column, click a Preset Folder name to select it.

Click the Rename button.

You can also right-click a Preset Folder name and choose
Rename, or double-click a Preset Folder name to rename
the folder.

Type a new name for the Preset Folder and press Enter.

Chapter 21: Shows and File Management 173

Deleting Preset Folders

When you delete a Preset Folder, all Presets contained in that

folder are also deleted.

3 Click the Preset Folder name and choose a Preset Folder from
the pop-up menu. Any Presets in the folder appear in the left
column.

To delete a Preset Folder:

1

In the left column, click a Preset Folder name to select it.

Click the Delete button.

You can also right-click a Preset Folder name and choose
Delete to delete the folder.

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 from the Scope
Sets window of the Recall Safe page.

Preset Folder names at the top of the Presets column

4

Click a Preset file name to select the file.

Click the Duplicate button.

You can also right-click a Preset file name and choose Duplicate to duplicate the Preset.

Duplicating Presets
To duplicate a Preset file:
1

Renaming Presets

Go to the Filing page and click the Transfer tab.

To rename a Preset file:

Click the Built-In or Plug-In icon and choose a processor or

plug-in from the pop-up menu. The available Preset Folders
for the processor or plug-in appear in a pop-up menu above
the left column.

In the left column, click a Preset file name to select the file.

Click the Rename button.

You can also right-click a Preset file name and choose Rename, or double-click a Preset file name to rename the Preset.

Type a new name for the Preset file and press Enter.

Deleting Presets
To delete a Preset file:
Built-In EQ in the Transfer tab of the Filing Page

In the left column, click a Preset file name to select it.

Click the Delete button.

You can also right-click a Preset file name and choose Delete to delete the Preset.

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VENUE SC48 Guide

Transferring Settings, Shows and

Presets
You can copy Console Settings, Shows, and Presets to and
from a portable storage device (such as a USB key disk) for
backup, transfer from standalone software, and transfer between systems.
Console Settings are equivalent to an auto-saved Show file,
and store the current state of the console. By transferring
Console Settings, you can transfer the current state of the
console without having to first create and name a Show file.

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.
Preparing to transfer items to USB key disk

Transfer of Settings files, Show files, and Preset files is managed from the Transfer tab of the Filing page. The Transfer tab
shows the system-resident files in the left column and the contents of the portable storage device in the right column. Items
are selected for transfer in the center.

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 VENUE SC48.

Click the Transfer button.

Large transfers may take time. Transfer status is shown by a

progress bar. A transfer may be cancelled by clicking Cancel.
Cancelled transfers may result in partial folder contents,
which will have to be deleted manually.

Synchronizing Settings, Shows and

Presets

File transfer controls

To transfer Settings, Shows or Presets between VENUE SC48 and
a portable storage device:
1

Go to the Filing page and click the Transfer tab.

Connect a portable storage device (such as a USB key disk) to

the system. The device appears above the right column.

Do one of the following to select the type of data to transfer:

To transfer all data, click the Console icon.
To transfer Console Settings, click the Settings icon.
To transfer Show Folders, click the Show Folders icon.

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
automatically updated.
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 running the Standalone
software when preparing data for synchronization.

To transfer individual Shows, click the Shows icon.

To transfer Preset Folders, click the P reset Folders icon.
To transfer Presets for individual items, click the Built-In
or Plug-In icon and choose a built-in processor or plug-in,
or Input Channel from the pop-up menu.
To transfer Scope Sets for Recall Safe, click the Scope
Sets icon.
Chapter 21: Shows and File Management 175

To synchronize Settings, Shows, or Presets between the VENUE

system and a portable storage device:
1

Go to the Filing page and click the Transfer tab.

Connect a portable storage device (such as a USB key disk) to

SC48. The device appears above the right column.

Do one of the following to select the type of data to synchronize:

To synchronize all data, click the Console icon.

To synchronize Console Settings, click the Settings icon.
To synchronize Show Folders, click the Show Folders
icon.
To synchronize individual Shows, click the Show icon.
To synchronize Preset Folders, click the Preset Folders
icon.

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 console is idle.
A new Show file is automatically saved just prior to a significant change in the console setup, including:

Change of console channel or bus configuration

To synchronize Presets for individual items, click the

Built-In icon or the Plug-In icon and choose a processor or
plug-in from the pop-up menu.
4 From the pop-up menus above each column, choose the folders containing the elements you want to synchronize.
5 Click the Sync All button. The contents of the left and right
columns are synchronized.

Using the Standalone software on a laptop computer, you

can configure VENUE system routing, set up mixes, create
Snapshots, and save Shows and Presets. You can then transfer your data to a USB disk for use on an SC48 console or
other VENUE system. See Chapter 25, Using the Standalone Software.

Undoing Changes Using the History

Feature

Recall, storage, or modification of a Snapshot

Loading of Console Settings or a Show

Loading an Auto-Saved Show

To return the console 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 click the History tab.

In the Show Folders column, click the Show Folder name to

select the folder and display its contents in the Shows column.

3 In the Shows column, click the name for the Show you want
load.

The VENUE system automatically saves the current state of

the console while you are working, allowing you to quickly return the console to a previous state.
The History feature uses Show files to capture the console
state, and displays the files in the History tab.
Show Folders and Show files displayed in the History tab
can only be deleted. They cannot be duplicated or renamed.
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.

Loading an auto-saved Show file

4

The Previous Days folder includes only the last auto-saved

Show file for each day since the console was last cleared.

Click the Load button.

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VENUE SC48 Guide

The VENUE system loads the selected Show file, replacing the
current system configuration, routing, and control settings
with those contained in the selected file.

Chapter 22: 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, and manage snapshot data.
Snapshots are contained and stored as part of a Show. A single Show file can contain up to 999 snapshots. Snapshots are controlled from the on-screen Snapshots page, or from the Snapshot controls on the console. Once stored, snapshots can be recalled
manually or automatically (triggered by events or MTC). Snapshots can also trigger events.

Snapshots Page
The Snapshots page provides controls for storing, recalling, and managing snapshots, providing a central location for setting up
and replaying automated performances.
Main and Recall Safe tabs

Chase MTC
button

Snapshot
Command
buttons

Data Type Current Target

Scope buttons
Name

Snapshot
Crossfade
controls

Snapshots
Recall buttons

MIDI/Plug-Ins
list
Snapshots
list

Notes
section

Channel
Scope Controls

Channel Scope
buttons

Tool Tips and

Snapshots
Banner display
Next and Last Recalled
Snapshots display

Figure 16. Sections of the Snapshots page

Chapter 22: Snapshots 177

To display the Snapshots page, do one of the following:

Click the Snapshots tab on-screen.

or

Press the Snapshots switch in the View Modes section (to the
right of Channel Control).

Repeatedly pressing the Snapshots View Mode button toggles between the Main and Recall Safe tabs.

Undo Returns the console 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.

Main and Recall Safe

Delete Deletes the targeted snapshots.

The Snapshots screen provides the Main and Recall Safe tabs.

Snapshot Scope Controls

Main Provides the primary snapshot controls.

The selection of data types and channels to be recalled is referred to as the scope of a snapshot. The scope of data to be recalled is also stored within each snapshot.

Recall Safe Provides a matrix of channel parameters that can

be globally safed (or isolated) from Recall for all snapshots.

Snapshots List
Snapshots can be targeted, renamed, recalled, previewed, edited, locked, reordered, duplicated, searched, and deleted
from the Snapshots list.

The Snapshot Data Type buttons and on-screen Channels determine (and display) which data types are recalled for which
channels on the console.
The Recall Safe tab provides global control of automation safe
status for parameters on individual channels.

Snapshot Command Buttons

Scope States

Disable Temporarily disables all snapshot functions.

Scoped Red display indicates that the data type or channel is

Preview An offline mode in which the console continues to

currently scoped and will be affected by snapshot recall.

process audio using its settings at the time Preview is invoked,

letting you recall, edit and manage snapshots without affecting the current mix.

Not Scoped Gray display indicates that the data type or chan-

Recall Recalls the targeted snapshot, updating the console to

reflect the status of all scoped data types and channels in the
snapshot (subject to the current Recall Safe settings).

Data Type Scope Buttons

Store Stores the current state of the console in the targeted

snapshot for all data types and channels, overwriting any existing data in the snapshot.
Propagate Enables Propagate mode. 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

applied in Absolute or Relative fashion.

nel is not currently scoped and will not be affected by snapshot recall.

The Snapshot Data Type buttons display scope status for the
corresponding types of controls on the console. See Table 7 on
page 200 for a complete list.
Data type
currently
scoped
(red)

Data type
not currently
scoped
(gray)
Data Type Scope buttons showing different scope states

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VENUE SC48 Guide

MIDI and
Plug-Ins

Notes

Channel Scope Controls

Selected Channel Indication

Channels are included or excluded from snapshots by clicking

them on-screen in the Snapshot Channel Faders display. The
Snapshot faders display the scope status of each channel on
the console, along with indication of the fader positions and
mute states that will result by recalling the targeted snapshot.

The Snapshots page indicates the currently selected channel.

Channels
currently scoped
(red)

If the selected channel is not scoped in the currently selected snapshot, it is indicated with a blue highlight.
If the currently selected channel is scoped in the currently
selected snapshot, it is indicated by a blue outline around the
on-screen fader strip.

Channels not
currently scoped
(gray)

Snapshot channel fader display showing different scope states

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.

Selected channel, not scoped

Selected channel, scoped

(blue outline)

Selected channel indication in the Snapshots page

Though the currently selected channel is displayed in the

Snapshots page, keep in mind that you cannot target a different channel 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.

Data Type Scope Action Buttons

Snapshot channel fader display showing target fader positions

Channel Mute State

When you target a snapshot with scoped channels that have

different mute states from the current mute states, the target
mute buttons are outlined in yellow.

All Turns on the scope for all data types at once. This is equivalent to clicking all of the Data Type buttons so they are red.
None Turns off the scope for all data types at once. This is
equivalent to clicking all of the Data Type buttons so they are
gray.

Channel Scope Action Buttons

All Turns on the scope for all channels displayed on the current tab (such as 148). Double-clicking the All button turns
on the scope for all channels on the system.
None Clicking the None button turns off the scope for all
channels on the current tab. Double-clicking the None button
turns off the scope for all channels on the system.

Snapshot channel fader display showing target mute states

Chapter 22: Snapshots 179

Next Snapshot Indication in Status

Display
The Snapshot Status display shows the currently targeted
(next) snapshot in red text directly above the display of the
last (most recently recalled) snapshot. Pressing the Snapshot
Recall button immediately recalls the targeted snapshot and
makes it the last recalled snapshot.
Next snapshot (red)
Most recently recalled
snapshot (green)

Next and Last Recalled snapshot display in the Status area

Snapshot Controls on the SC48

Console
Snapshot controls are provided in the Snapshots section.
These controls provide direct access to a few basic snapshot
commands and allow manual control of snapshot recall.

Snapshots Section
You can target (select), store, and recall snapshots from the
Snapshots controls in this section.

Store

Recall

Select
Encoder

Previous Next
Snapshots section on the SC48 console

The Snapshot controls in the Snapshots section perform the

following functions:
Store Stores the current state of all console parameters in the

targeted snapshot. This switch mirrors the Store button in the

Snapshots page.
Recall Recalls the targeted snapshot. This switch mirrors the
Recall button in the Snapshots page.
Select Encoder Turning the Select encoder scrolls through

and selects the targeted snapshot in the Snapshots list. The

character display shows the name of the currently targeted
snapshot. A period is appended to the displayed snapshot
name to indicate whenever it has been edited since being recalled.
Previous Instantly recalls the snapshot prior to the most re-

cently recalled snapshot. This switch mirrors the Recall Previous button in the Snapshots page.

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VENUE SC48 Guide

Next Instantly recalls the snapshot immediately following the

most recently recalled snapshot. This switch mirrors the Recall Next button in the Snapshots page.
The Previous and Next switches combine target and recall
actions in one step, causing the next or previous snapshot to
be instantly active. These switches cannot be used to preview snapshots before recalling them.
F1 for Preview Mode

When the Mute Groups/Function section is in Function mode,

pressing F1 engages Preview mode (see Preview Mode on
page 191).
For more information on how to use the Event List to customize this or other console functions, see Chapter 23,
Events.

Snapshots List
Snapshot Entries

Each entry in the Snapshots List has a number (001999) and

name. To the right of each number and name are icons for the
currently displayed snapshot attributes. The Snapshot List
lets you configure, display and control the following attributes for each snapshot:
If either the MIDI Read or Generate feature is enabled,
each snapshot will also have a time code value, trigger indicator, or send indicator. (See Adding MIDI Messages to
Snapshots on page 195.)
If the System Tempo has been enabled in Options > Misc,
Tempo can be stored for each snapshot instead of MIDI
(both MIDI and Tempo are available parameters at all
times; the only limitation is that the Snapshots List can
only display one or the other at a time). When the Snapshot List is configured to show Tempo, each list item will
show the tempo value associated with each tempo, along
with a Tempo On/Off toggle icon. (See Adding Tempo
Data to Snapshots on page 196.)
On systems that include a Pro Tools record/playback option and VENUE Link, snapshots can be configured to
create a Marker in the Pro Tools recording whenever that
snapshot is recalled. (For more information, see the Live
Recording Guide.)
Each snapshot provides a Lock icon that toggles the snapshot between Locked (write-protected) and Unlocked.
See Locking Snapshots on page 188.
Recall Buttons

The Recall Previous () and Recall Next (+) buttons at the top
of the Snapshots List cause the previous or next snapshot to be
targeted and recalled in one step.

Chase MTC

To clear a selection of multiple contiguous snapshots:

Enables or suspends automated recall of snapshots when either the MTC Read or MTC Generate option is enabled.

Navigating the Snapshots List

Snapshots are highlighted in color in the Snapshots list to indicate the following:

Click any snapshot name in the Snapshots list.

or
Turn the Select knob in the Snapshots section.

To select or de-select non-contiguous snapshots:

Ctrl-click the snapshot names in the Snapshots list.

Green Indicates the last recalled snapshot

Red Indicates the currently targeted snapshot
Yellow Indicates that the snapshot is both the last recalled

and currently targeted snapshot

Blue Indicates that the snapshot is part of a multiple snapshot

selection but not the last recalled or currently targeted snapshot. Recalled and Targeted snapshots can also be part of a
multiple selection in the list. In this case, the sequence number is blue while the rest of the name is red, green or yellow.

Multiple items selected in the Snapshots list

Snapshot Type Text Search

Snapshot Keyboard Shortcuts

Type Text search lets you use the keyboard for fast navigation
of the Snapshots List.

When the Snapshots page is displayed, you can perform the

following Snapshot functions with these keyboard shortcuts:

To search for and target a snapshot:

1

Go to the Snapshots page.

Do one of the following:

Snapshot Function

Keyboard Shortcut

Target Next/Previous Snapshot

Up/Down Arrow keys

Type the number of the snapshot.

Target First Snapshot in List

Home key

or

Target Last Snapshot in List

End key

Type the first letters of the snapshot name.

Target Snapshot at Top of Page

Page Up

Target Snapshot at Bottom of Page

Page Down

Select Multiple Contiguous Snapshots

Shift-click snapshots

Select Multiple Non-Contiguous Snapshots/Deselect any Snapshot

Ctrl-click 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

Right-click MIDI/Plug-ins
entry

Press the Tab key 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.

Selecting Snapshots

You can select single snapshots or multiple snapshots in order

to target, recall, duplicate, edit, lock or delete them in the
snapshots list.
To select multiple contiguous snapshots:

Snapshot list with Center Last Recalled Snapshot enabled

Shift-click the snapshot names in the Snapshots list.

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To center the Snapshot List on the last recalled snapshot:

1

Go to the Options > Snapshots page.

For each parameter of the scoped channels you want affected

when the snapshot is later recalled, click the corresponding
Data Type button so that it is scoped (displayed in red).
4

In the Snapshots General Preferences section, click to select

the Center Last Recalled Snapshot setting.

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 (see Creating New Snapshots on page 182), or by duplicating existing snapshots to
build your mix as you work.
Use the first snapshot in a Show file to establish the basic
settings for a performance. For subsequent snapshots, use
the scope controls 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.

Plug-ins included in the scope of a snapshot

When you create a new snapshot it automatically inherits

the channel and data type scope of the currently targeted
snapshot.

Creating New Snapshots

When you create a snapshot, it captures the current state of all
console settings.
To create a new snapshot:

Set all parameters on the console whose state you want to

store in the snapshot.

Click New. The new snapshot appears in the Snapshots List.

The New command can be undone.

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

For each channel you want affected when the snapshot is

later recalled, click the channel so that it is scoped (displayed
in red).

Do one of the following:

Double-click the snapshot name in the Snapshots list or
the current target name display.

or
Right-click the snapshot name and choose Rename.
2

Type a name for the snapshot.

Press Enter on the keyboard or click 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.
Click to select/de-select bank
Adding channels to the scope of a snapshot

To add or edit comments for a snapshot:

Double-click the Notes header or click the list icon to expand

the Notes field.

To quickly select (or de-select) banks of channels, click their

blue labels below the Channel Faders in the Snapshots page.

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Double-click in the Notes field and enter text.

Recalling Snapshots

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.

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.
Preview mode lets you take the console offline to recall and
edit snapshots in their entirety without affecting the current
mix. See Preview Mode on page 191.

Targeting Before Recalling Snapshots

To target and then recall a snapshot:

Target the snapshot you want to recall by clicking the snapshot name in the Snapshot list, or turning the Select knob in
the Snapshots section.

(Optional) Set the scope of the snapshot by doing the following:

To target a snapshot, do any of the following:

Click the snapshot name in the Snapshot list.

Type the number or name of the snapshot on the keyboard.

For each channel you want to recall in the snapshot, click

the channel so that it is scoped (displayed in red).
For each parameter of the scoped channels you want to
recall in the snapshot, click the corresponding Data Type
button so that it is scoped (displayed in red).

Press the Home/End, Page Up/Page Down, and Up/Down Arrow keys to navigate the Snapshot list.

Turn the Select knob in the ACS to scroll through the Snapshot list. Snapshot names appear in the display above the Select knob.

Configure the Recall Safe page to further filter snapshot

data on recall. (See Recall Safe and Channel Automation
Safe on page 184.)

The current target snapshot is highlighted in red in the Snapshots list, and shown in red in the Status display.

3 Click the Recall button on-screen, or press the Recall switch

in the Snapshots section.

Snapshot Recall can also be triggered by a footswitch or any

number of other console functions in the Events window.
For more information, see Chapter 23, Events.

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.
Undoing snapshot recall commands might cause audio to
be interrupted. Use Undo with caution in performance.
Recalling Successive Snapshots Instantly

You can instantly recall successive snapshots in the Snapshots

list. This command references the previously recalled snapshot, not the last targeted snapshot.
To instantly recall successive snapshots, do one of the following:
On the console, press the Previous or Next switch in the
Snapshots section.

Selecting and Recalling Multiple Snapshots

You can select and recall multiple snapshots to load them all
in sequence, and in one step. This is useful to quickly reset the
console to a sub-cue or other specific point within a longer
scene or cue and pick up from there.
To recall multiple snapshots:

Select multiple snapshots in the list (Shift-click to select

multiple adjacent (contiguous) snapshots; Ctrl-click to select
non-contiguous items or to deselect a single item.

Press the Recall switch, or click the Recall button on-screen.

If multiple snapshots are selected, toggling Data Type or
Channel Scope buttons affects all selected snapshots. This
provides a quick way of removing a channel or data type
(such as EQ) from some or all snapshots. This action can be
undone using the Undo button.

or
On-screen, click the Recall Previous () or Recall Next (+)
button at the top of the Snapshots list.

Chapter 22: Snapshots 183

Recall Safe and Channel Automation

Safe
The Recall Safe tab in the Snapshots page provides global automation safe settings of nearly every section of the console.
You can also place individual channels in automation safe
from the console or on-screen. For more information, see
Automation Safing Channels on page 187.

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.
Recall Safe Tab

The Snapshot List and its Recall and Store functions remain
visible and available from the Recall Safe page at all times.
Channel 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
channel Type selector tabs, which will change depending on
whether you are viewing Input or Output tabs.
Shift-click channel type tabs to view more than one type at
once in the scrollable parameter matrix.
Global Safe for MIDI Output and Plug-Ins

These checkboxes let you globally suspend recall of MIDI output and/or plug-in changes. They are considered separate
from the parameter matrix and do not follow the Recall Safe
master On (or Off) status.
Scope Sets

The Recall Safe tab opens the Recall Safe page on-screen. 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.

Indication of active Recall Safe from the main Snapshots page

Recall Safe Displays and Controls

Recall Safe tab

Snapshot List, Recall and Store

Global safe
Master On/Off
for MIDI
Channel
and plug-ins
tabs

Scope Sets

Scope Sets are presets for the Recall Safe page 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 configurations. For more information, see
Using Scope Sets on page 186.
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

Channel Safe

Channels
Snapshot List,
Recall, and Store

Channel
Type tabs

Parameter matrix

Displays and controls in the Recall Safe page

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.
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Channel grid icons

Parameter matrix for Recall Safe

Parameter grid icons

Parameters are represented in the columns of the parameter

matrix; channels are listed along the left side in rows.

The display state of the Parameter and Channel grid icons indicate safe status for that column or row as follows:

Clicking in the grid enables safe status for that parameter on

that channel. Parameter and Channel grid icons provide
shortcuts to safe all parameters in a single-click, and to safe
entire channels. Clicking 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.

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

Grid master icon

None

Channel Safe

Some

All

The CHANNEL SAFE column acts as a global all channel setting or override, mirroring the SAFE switch on the console
and on-screen (when in Input 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.
For more information, see Automation Safing Channels
on page 187.

Display states for grid icons in Recall Safe

Using Recall Safe

To access the Recall Safe page:
1

Do one of the following:

Go to the Snapshots page and click the Recall Safe tab.
or
Double-press the Snapshot View switch until the Recall
Safe tab is displayed.

Click a channel type tab to display the desired channels.

To safe individual parameters on specific channels:

Click in the grid at the intersection of the appropriate parameter (column) and channel (row). A blue dot appears, indicating a parameter is safed.

Click

Enabling recall safe for channel 1 fader

To safe multiple parameters or channels at a time:

Click and drag in a column, across a row, or at an angle.

Chapter 22: Snapshots 185

To safe individual parameters or channels using the computer

keyboard:

MIDI

Place the cursor above the grid, above a parameter or channel name, or above any Channel Safe button. To be sure the
cursor is above a valid area, you should be able to see at least
one parameter name or channel name highlight.

To enable Recall Safe for MIDI Snapshot output:

Use the Arrow keys of the computer keyboard to move the

cursor right, left, up, or down to other grid points. (You cannot
navigate to parameter or channel grid icons, or to the Channel
Safe column.)

Click the MIDI Snapshot Output Safe button, located above

the parameter matrix.

For more information, see Adding MIDI Messages to Snapshots on page 195.

Plug-Ins
To enable Recall Safe for plug-ins:

Press Enter to enable or disable safe status for the currently

focused grid point. Continue navigating to and toggling safe
status of other parameters and channels.
3

Click the Plug-In Snapshot Safe button, located above the parameter matrix.

For more information, see Adding Plug-In Data to Snapshots on page 196.

To safe a parameter across all currently displayed channel types:

Click the Parameter grid icon at the top of the appropriate
column until the triangle is white.

To safe all parameters for a particular channel:

Click the Channel grid icon in the ALL column for that channel (row).

To toggle the status of a parameter column or channel row:

Click the appropriate Parameter or Channel grid icon repeatedly until it displays the desired status. For more information,
see Parameter Matrix on page 184.

To safe all parameters across all channels and clear any current
settings:

Click the triangular icon at the top of the ALL column.

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 desired.
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.
The following table describes what can be stored and recalled
in each snapshot when the Matrix data types is scoped.
Table 6. Snapshot data types and parameters for Matrix mixers

You can undo or redo the last action taken in the parameter
matrix.

Snapshot
Data
Type

Channel Safe

Matrix

To automation safe an individual channel and retain all recall safe

settings for that channel:
Click in the CHANNEL SAFE column for the desired channels.

A channel (row) Channel Safe button does not need to be lit

in order to Recall Safe individual parameters for that channel.

Included Parameters (for Each Scoped Channel

Strip)
Mixer Input Sources, User Input Assignments (global
to all Matrixes), and pickoffs; Mixer Input level, Mixer
Input on/off and Mixer Input Link

Using Scope Sets

The configuration of the Recall Safe page can be stored as a

Scope Set settings file. Scope Sets can be previewed, recalled
and transferred just like plug-in, EQ and Dynamics settings.
To store the current Recall Safe settings as a Scope Set:

To automation safe all parameters across all channels and retain

all current recall safe settings:

Click the CHANNEL SAFE master icon at the top of the

Channel Safe column.

The Channel Safe column mirrors the channel automation

Safe controls. For more information, see Automation Safing Channels on page 187.

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Configure the Recall Safe page as desired.

Click the Scope Sets icon (the folder icon located above and
to the right of the parameter matrix).

Click New.

Automation Safing Channels

To preview and recall a saved Scope Set:

From the Recall Safe page, click the Scope Set icon to display
the Scope Set window.

If necessary, choose the appropriate Scope Sets folder by

clicking and selecting it from the Folder selector.

Do any of the following:

Input Safe switches (both console and on-screen) can be set to

Automation, Solo, or Bank Safe modes. When set to act as Automation Safes, the Input Safe Switches let you suspend the effect of snapshots on all parameters of individual Input Channels and FX Returns.
You can also control channel automation safe status in the
Recall Safe tab. See Channel Safe on page 186.

To preview an existing Scope Set, click its name in the

Scope Sets window.
To load the currently selected Scope Set, press Enter or
click the Close box (X) in the Scope Sets window title bar.
To cancel without changing Recall Safe settings, click
Cancel.
Scope Sets
Folder selector

On-screen Automation Safe button

To toggle the Safe status of an Input Channel or FX Return
directly from the channel strip:
1

Go to the Options page and click the Interaction tab.

2 Under Input Safe Switches, select the A ct as Automation Safes

option.

Scope Sets window

See Chapter 21, Shows and File Management for complete

information on transferring system data.

Press the Safe switch in the Input section, or click the

on-screen Safe button for each of the Input Channels or FX Returns you want to safe. The Safe switch lights solid to indicate
that the channel is automation safed.

You can use the Event List to be able to cycle through the
various Input Safe Switch modes using a footswitch, function switch or other available trigger. See Chapter 23,
Events.

Chapter 22: Snapshots 187

Managing Snapshots
You can manage snapshots in the list by storing, locking,
clearing, duplicating, deleting, or moving them.

In the Snapshot list, click the padlock icon at the far right of
the row for any item. The padlock icon illuminates to indicate
the snapshot is now locked.

Locked/Unlocked indicator

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. Snapshots can be
stored from on-screen or from the snapshot controls on the
console. You can undo Store commands.
To store the current console state in an existing snapshot:

Set all parameters on the console as you want them to be

stored in the snapshot.

Click to lock or unlock

Snapshot lock controls

Select multiple snapshots using the Shift key or Multi-Select

switch to lock or unlock multiple snapshots at once.

3 Click the Store button on-screen, or press the Store switch in

the Snapshots section.

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.

Select the snapshot in the on-screen Snapshot list, or turn

the Select knob in the Snapshots section to target a snapshot
you want to overwrite.

Set the scope by doing the following:

For each parameter you want to be affected when the
snapshot is recalled, click the corresponding Data Type
button so that it is scoped (displayed in red).
For each channel you want affected when the snapshot is
recalled, click the channel fader so that it is scoped (displayed 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 snapshots default to unlocked. Lock status can be changed at any time, including
while in Preview mode.

To unlock a snapshot:

Click the lit padlock icon in the row for that snapshot.

You can undo locking or unlocking of a snapshot by clicking

the Undo button.
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 operation creates a single undo point (it does not track
and provide undo for each individual snapshot in the selection).
Keep in mind that Undo can revert snapshots to unlocked
status. For example, if you change the scope of an unlocked
snapshot, lock the snapshot and then use Undo, the snapshot is unlocked. Pressing Undo one more time will revert
the snapshot to its original scope.

To lock a snapshot:
1

Go to the Main tab of the Snapshots page.

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 snapshot, and subsequent incoming MIDI
messages are not captured.

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Available Operations with Locked Snapshots

Duplicating Snapshots

The following table details which operations can or can not be

performed on a locked snapshot.

Snapshots can be duplicated from the Snapshots list. You can

undo Duplicate commands.

Summary of allowed/disallowed operations when locked

Operation

Allowed
while
Locked

To duplicate snapshots:

Disallowed
while locked

Select the snapshots you want to duplicate.

Do one of the following:

Select/target snapshot

Click Dup (Duplicate).

Recall snapshot

or

Duplicate snapshot

Right-click 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.

Re-sequence in snapshot list

by:
Dragging in snapshot list

Manually editing sequence number

Re-sorting by time code

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.

Overwrite (Store to locked snapshot)

Propagate changes

Apply Edit mode changes

Select the snapshots you want to delete.

Clear

Do one of the following:

Delete

Modify Scope

Add/Modify stored MIDI data

Add/Modify stored Plug-In data

Modify Notes

Modify X-Fade time

Modify Snapshot Name

Modify Time Code Location

Toggle Time Code Enable

To delete snapshots:

Click Del (Delete).

or
Right-click the snapshot name and choose Delete.

Undo changes

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.

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 renumbered in the list, but MTC values are left unchanged. You can undo a snapshot move.
To move a snapshot, do one of the following:
Drag the currently selected snapshots to a new location in
the Snapshots list.

or
Double-click the snapshot number in the Snapshots list or
the banner display, type a new number, and press Enter on the
keyboard.

To clear the contents of a snapshot:

1

Select the snapshots you want to clear.

Click the Clear Snapshot Command button.

In the dialog box, click Clear to confirm. Cleared snapshots

are renamed <Untitled>.

Chapter 22: Snapshots 189

Making Changes to Snapshots

There may be situations where you need to change specific parameters in existing snapshots while leaving other parameters
unchanged.
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

snapshots 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 on page 190.

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 previously 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.
To update specific parameters in existing snapshots using Edit
mode:
1

Navigate to the main Snapshots page.

Click 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.

Propagate 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, Propagate 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 youve reached to increase gain on the
DI channel for a new guitar, you could use Propagate mode to
quickly take the gain increase you just made and apply it to
other snapshots. See Using Propagate Mode on page 190.

Events-driven recall of snapshots is disabled while in Propagate or Edit mode. For more information, see Chapter 23,
Events.

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.
The ability to edit a single control in Edit mode provides
more selectivity than Propagate mode.
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 apply-

ing that change as Absolute results in that fader being set

identically to 3 dB in all selected snapshots.

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Edit mode
3 Adjust any combination of snapshottable parameters on the
console or on-screen.
4

Select the snapshot(s) to which you want to apply your edits.

Click either of the flashing buttons Abs (for Absolute) or Rel

(for Relative). You can cancel Edit mode by pressing the Cancel
button on the control surface, clicking 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 Propagate Mode

You can use the Propagate command to capture changes and
apply them to existing snapshots. Propagate 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 Propagate commands.

To update specific parameters in existing snapshots:

1

Make sure the channel is set as needed.

Click Propagate. The current data and channel scope is

cleared.
2

Set the scope to reflect only those parameters you want to

update by doing the following:

For each parameter you want to update, click the corresponding Data Type button so that it is scoped (displayed
in red).
and

Using Preview Mode

The basic workflow for using Preview mode is as follows:

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.

Enter Preview mode by pressing F1 on the console, or by

clicking the on-screen Preview button in the main Snapshots
page. The word PREVIEW flashes in red across the screen
for confirmation; on the console, the F1 (Preview) switch
flashes, as do all input and output channel strip displays.
2

For each channel you want to update, press its channel Select switch on the console, or click the channel on-screen
so that it is scoped (displayed in red).

Preview mode
3

Propagating an EQ change for a channel

4 Select the snapshot or range of snapshots you want to update
in the Snapshots list.
5 Click Propagate. The scoped parameters are updated in the
selected snapshots.

Preview Mode
Preview mode lets you recall, store and edit snapshots without
affecting the current mix.
When enabled, Preview mode takes the console offline from
the live audio mix so you can work ahead during a rehearsal,
performance or event to preview upcoming snapshots and edit
them as needed. Any control that can be stored and recalled by
snapshots is available while in Preview mode, and you can also
modify the Snapshot List. Once you are done previewing or
editing snapshots, you can store your changes to update the
existing snapshots with your changes.

Do any of the following:

Edit the Snapshots List Reorder snapshots in the list, if desired, by clicking 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 Console Settings in Preview
Mode on page 192.)
Create a New Snapshot Adjust settings as desired and create a
new snapshot by clicking New. (See Creating New Snapshots

on page 182.)
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 functionality 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).

Chapter 22: Snapshots 191

Add and Edit MIDI or Plug-In Data To add MIDI or plug-in data
associated with the snapshot, click the Add button in the MIDI
or Plug-Ins snapshot list. With plug-ins this adds the current
online plug-in settings to the snapshot. If you need to update
pre-existing MIDI or plug-in data associated with a snapshot,
right-click the corresponding entry in the MIDI/Plug-ins view
of the Snapshots page and choose the Update option (this option will include the plug-in rack position, and the name of the
associated snapshot). For more information, see Plug-Ins
and MIDI in Preview Mode on page 194.

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.
Multiple levels of Undo are available.
Changing Console Settings in Preview Mode

The system tracks any changes to console 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 to console settings 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).

Updating snapshot plug-in data

To undo an action made while in Preview mode, click the

Undo button on-screen. (For more information about Undo in
Preview mode, see Making Changes to Snapshots on
page 190.)
4

To update the currently previewed snapshot but remain in

Preview mode, press or click Store.

Continue previewing and editing settings as needed (all

snapshot functions are available in preview mode).

When you are finished and need to exit Preview mode, press
F1 (or click the on-screen Preview button).

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.

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
enabled 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 always use the History feature to recover from any unexpected results.
Changing MIDI or Plug-In Data in Preview Mode

Changes made to MIDI and Plug-In data cannot be undone.

For more information, see Adding MIDI Messages to Snapshots on page 195 and Adding Plug-In Data to Snapshots
on page 196.
Take advantage of Tool Tips in the banner display to confirm what action the Undo button will revert. See Undoing
Snapshot Commands on page 194.

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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 console and software:
Metering (including input, output and dynamics meters,
clip and bank clip indicators)

Available and Editable in Preview Mode

Almost all system functions, such as selecting channels and

banking faders, are available in Preview mode.
Only those controls that can be stored and recalled via
snapshots are available for offline previewing and editing.
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

AFL/PFL

Move channels

Dynamics Key Listen

Input channel Gain Guess

Monitoring level, Headphone level and Monitoring bus

Delay

Input channel and FX Return Input Direct switch

Talkback, Osc and 2-Track

Insert mode (plug-ins cannot be edited)

Mute Groups (recall only)

Enabling or disabling sample rate conversion

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 and Channel Automation Safe on page 184.

Input channel Dyn Pre EQ switch

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.
Config Mode

Config mode is not available while in Preview mode. Pressing

the Config switch (or double-clicking 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 (remain in Preview mode).
The system automatically switches to Show mode if Config
mode is active at the time Preview mode is entered.

Chapter 22: Snapshots 193

Plug-Ins and MIDI in Preview Mode

In Preview mode, plug-ins and MIDI operate in a similar way

as when using the standalone software.
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

Undoing Snapshot Commands

The Undo function returns the console 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 Propagate mode action.
Undoing snapshot recall commands may cause audio to
be interrupted. Use Undo with caution in performance.
If the Undo button is highlighted, you can place the cursor
over the button to display text in the status bar describing
what snapshot actions will be undone.

If the Undo button is dimmed, Undo is not available.

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

Place cursor
over Undo

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
You must explicitly add or update plug-in (or MIDI) data to
update snapshots, whether or not Preview mode is enabled.
You can do this from the main Snapshot page, or from the
plug-in racks.

Tool Tip
Using Tool Tips to verify the effect of Undo in the Snapshots page
To undo a snapshot command:

Click the Undo button in the Snapshot commands section.

Disabling Snapshots

Updating plug-in data in an associated snapshot from the plug-in view

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 Messages to Snapshots on page 195 and Adding Plug-In Data to
Snapshots on page 196.
MTC and Other Online Event Triggers

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:

Suspend MTC Recall

To disable MTC Recall of individual snapshots in the list:

Click the green Enable icon in the row for the desired snapshot so that it is unlit.

Click the Disable/Enable icon again to re-enable the snapshot.

2

While in Preview mode, triggers that occur in the online state

of the console are executed, including MTC-driven recall of
snapshots. Triggers caused by changes to the offline (Preview)
controls are ignored and do not cause events to occur. For
more information, see Chapter 23, Events.

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Click the Disable button in the Snapshot commands section.

Adding MIDI Messages to Snapshots

Click Add and choose a message from the pop-up menu.

No MIDI message data is captured when a snapshot is first created. MIDI messages are added to existing snapshots directly
from the MIDI list. You can store up to 20 MIDI messages in
each snapshot.
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

Adding a message to the Snapshot MIDI list

Control Change
Program Change

A MIDI plug icon appears in the Snapshots List for each snapshot that contains MIDI messages.

Channel Pressure

To record incoming MIDI data to a snapshot.

Pitch Bend

Click REC.

Send a supported MIDI command.

MIDI Machine Control Fast Forward

Click REC again when done.

MIDI Machine Control Rewind

To edit a MIDI message in the MIDI list:

MIDI Machine Control Eject

MIDI Machine Control Stop

MIDI Machine Control Play

Double-click the message text to display the pop-up menu

bar for the message.

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.
MIDI Message Indicator

MTC Enable Icon

Editing a MIDI message in the snapshot MIDI list

Choose the message name and send channel or device ID

from the pop-up menus.

Enter the message values in the text fields or drag up or

down across the text field to change the values.

Click in the MIDI list area to dismiss the pop-up menu bar.

To remove a MIDI message from a snapshot:

Snapshots List showing snapshot containing MIDI messages

To add a MIDI message to a snapshot:

1

Target the snapshot you want to modify.

Double-click the word MIDI in the MIDI/Plug-Ins list header to

expand the MIDI list.

Right-click the MIDI message in the MIDI list and choose

Delete.

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:

Click the Hex button in the MIDI/Plug-Ins list header.

Chapter 22: Snapshots 195

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 assign a Tempo value to a snapshot manually:

In the Snapshots List, double-click the Tempo value you want

to change, then do one of the following:
1

From the keyboard, type a new tempo value.

or

MIDI output is automatically suspended while in Preview

mode.
To safe MIDI message output on-screen:
1

Go to the Snapshots page and click the Recall Safe tab.

Click the MIDI global output Safe button above the parameter matrix so that it is lit.

Press the Up and Down Arrow keys to increase and decrease the selected value.
Press Enter or click another snapshot Tempo value to confirm the entry.

To assign the current System Tempo to a snapshot:

1

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.

Make sure Tempo is shown in the Snapshots List.

2 Right-click and choose the Set Tempo to option, which will

display the current System Tempo.

The System Tempo is set in the Options > Misc page. For details on configuring the system tempo and using it to synchronize plug-ins, see Tap Tempo for Plug-ins on page 211.
To toggle tempo on/off for each snapshot:

Make sure Tempo is shown in the Snapshots List (if not,

right-click any item in the list and choose Show Tempo).

Snapshots List showing tempo

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.

2 Click the Tempo icon so that it is lit (enabled) or unlit (disabled).

Displaying Tempo in the Snapshots List

To show Tempo in the Snapshots List:

Right-click anywhere in the Snapshots List and choose Show

Tempo.

Snapshots List showing tempo

Tempo is displayed in BPM (beats per minute) or milliseconds, as set in the Options > Misc page.

For more information on enabling Events for Tap Tempo, see

Tap Tempo for Plug-ins on page 211.

To change the units for Tempo display:

1

Go to the Options > Misc page.

In the Tap Tempo section, click to 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 System Tempo.
You can use the Tempo Enable icon to enable or disable tempo
recall when the associated snapshot is recalled.

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Adding Plug-In Data to 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.
When the Plug-In data type is scoped for a snapshot, plug-in
routing, in/out state, and settings are recalled with the snapshot. (Adding 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 multiple snapshots. Multiple snapshots can be selected, and
others can be added to or removed from the selection, at any
time prior to adding, removing, or updating plug-ins and
snapshots.

Plug-Ins List
To view plug-in data for snapshots in the MIDI/Plug-Ins list:

Target the snapshot you want to modify, or select multiple

snapshots in the list.

2 Double-click Plug-Ins in the MIDI/Plug-Ins list header to expand the Plug-In list.

To add a plug-in to multiple snapshots from the Plug-Ins page:

1

Create a multi-selection of snapshots on the Snapshots page

Go to the Plug-Ins page.

3 Click 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.

Using the Snapshots pop-up menu in the plug-in rack (Plug-Ins page)

Expanded Plug-In list

It is also possible to select multiple plug-ins in the Snapshots

Plug-Ins list and remove or update these plug-ins across multiple snapshots using Right-click commands. Selections can be
contiguous or non-contiguous plug-ins in the list. This lets
you more easily manage all plug-ins inserted on a single channel, for example.

Snapshots within the multi-selection that already contained

the plug-in being added are unaffected and preserve any previously stored settings.

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.

Click the Snapshots Plug-Ins icon to show the Snapshots

Plug-Ins list.

3 Right-click a plug-in within the plug-in list of the currently

targeted snapshot and choose Remove This Plug-In From Selected Snapshots.

To remove a plug-in from multiple snapshots from the Plug-Ins

page:
Managing multiple plug-ins across multiple snapshots

Create a multi-selection of snapshots on the Snapshots page

Adding Plug-Ins to Snapshots

Go to the Plug-Ins page.

Click the Snapshot menu for the plug-in to be removed and

choose Remove This Plug-In From Selected Snapshots.

To add a plug-in to one or more snapshots from the Snapshots

page:

Select an individual snapshot, or create a multi-selection of

snapshots in the Snapshots list.
1

Display the Plug-Ins List (see Plug-Ins List on page 197).

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.

3 Click the ADD button within the Snapshot Plug-Ins list and
select a plug-in (or All Plug-Ins) from the menu.

Chapter 22: Snapshots 197

Updating a Plug-In Across Multiple

Snapshots
To update a plug-in across snapshots from the Snapshots page:
1 Select an individual snapshot, or create a multi-selection of
snapshots on the Snapshots page.

Select a plug-in within the plug-in list of the currently targeted snapshot.

Right-click and choose Update Plug-In In Selected Snapshots.

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 crossfading channels are not scoped in the incoming snapshot.
Default Crossfade Time

The default crossfade time assigned to new snapshots can be

set with this option, with a possible range of 099.9 seconds.
To set the Default Crossfade Time:
1

Go to the Options page and click the Snapshot tab.

Under Snapshot General Preferences, enter a value or drag in

the text box and press Enter.

Snapshots plug-ins pop-up menu with multiple plug-ins selected in the

Snapshots page
To update a plug-in across multiple snapshots from the Plug-Ins
page:
1

Create a multi-selection of snapshots on the Snapshots page

Go to the Plug-Ins page. All plug-ins that are associated with

any of the currently selected snapshots are identifiable by their
red Snapshot menu.

3 Click the Snapshots menu 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 in order to edit its routing assignment or parameters.
To edit a plug-in associated with a snapshot:

Double-click the item in the Snapshot Plug-Ins list. Or,

right-click a plug-in in the Snapshots Plug-Ins list and choose
Edit Plug-In.

Snapshot Options
Crossfade Time
You can set the X-fade (crossfade) time for the channel faders
between snapshots from 099.9 seconds, in 0.1 second increments. This value determines the fade time, or the time it
takes for the faders to move to their new positions when a
snapshot is recalled.
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Snapshot General Preferences

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 snapshot 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.

Classifying Aux Sends

You can classify Aux Sends as monitor sends (Mon) or as effects sends (FX), which lets you scope each type separately
from the Snapshots page.

Preview Mode

This option is only a means of organizing Aux Sends for

snapshot control, and does not directly affect Aux bus
operation.

If you enter Preview mode in between Recall commands, the

offline (Preview mode) crossfade will be bypassed; the online
crossfade will not.

To classify Aux Sends for snapshot scope:

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 frequency and in/out state.

Go to the Options page and click the Snapshots tab.

For each Aux Send bus or bus pair, click the Aux Mon or
Aux FX buttons to classify it as a monitor send or effects send,
2

respectively.

To set the Pre parameters recalled by the Pre Data Type button:
1

Go to the Options page and click the Snapshot tab.

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.
2

Classifying Aux Sends

Aux Pre/Post State

Select this option to include the pickoff point pre-fader or

post-fader state of each Aux Send in snapshots.

Setting Pre parameters

Chapter 22: Snapshots 199

Snapshot Data Types and Parameters

Table 7. Snapshot data types and parameters included in each data type

200

Snapshot Data Type

Included Parameters (for Each Scoped Channel Strip)

Fader

Main volume level

Mute

Mute state

EQ

EQ type selection (analog/digital); EQ in-circuit state;

4 bands (2 bands on FX Returns) of 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

PQ strip balance
Pan or balance/width for each Group bus returning back to LR

Bus

Group bus assignments, group bus mono/stereo-linked state (if mono groups) or dual-mono/true stereo state (if
stereo groups), LR bus assignment and C/M bus assignments for input strips and groups

In

Input routing for Input Channels and FX Returns

Out

Main out assignments; direct out assignments, level, in-circuit state, & tap-off point (excluding VCAs)

H/W
(IO16-equipped systems
only)

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

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

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

VENUE SC48 Guide

Chapter 23: Events

This chapter introduces the Events window, and explains how

to use the Event List.

Introduction
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 a Footswitch input triggering a Recall Next Snapshot command. This is an example of a
single trigger (a footswitch input) causing a single action (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
moving a specific fader above and/or below a certain level
sends a General Purpose output, 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.
The Event List is easy to configure, and many preconfigured
events are provided for Tap Tempo, snapshot Preview mode
and other functions.
For more information on the default events and other examples, see Default Settings, Templates and Examples on
page 210.

Terminology
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 console functions (triggers) and
their results (actions).
Trigger A conditional check used to fire an event.
Action A console function, mode or other response resulting

from an event being triggered.

GPI General Purpose Interface, also commonly known as a
logic interface. SC48 provides 2 GPI inputs and 2 GPI outputs.
Open GPI input or GPI output is floating, or at its reference

voltage.
Closed GPI input or GPI output is closed.
Footswitch Footswitch ports are functionally identical to GPI
inputs and share all of the same properties and behaviors.

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 on page 209.

Chapter 23: Events 201

The Events Window

The Events window is the working area of the Event List system, and is available in the Options page (Options > Events).
Event List Commands

Triggers

Event List

Actions

Footswitch Status
Display

GPI Status Display

Figure 17. Events window (Options > Events)

Events are defined and managed from the upper Event List area of the Events window. This area includes the scrollable Event List
at the left, plus the Triggers and Actions sections to its right. The lists and commands available in these sections create a powerful, user-programmable environment.
Events

Event List Each event is shown in its own row within the

An event consists of one or more triggers, which in turn cause

one or more actions to occur. Up to 999 events can be created.
Each event can have between 0 and 8 triggers, and each event
can have between 0 and 8 actions.
Event number
Event name

Events
in the list

Enable
Status

Event List
commands

Event List. The list can be scrolled vertically when necessary.

Event Number Each event has an associated three digit se-

quence number, 001 through 999. Events are automatically

re-numbered if items are moved, added or removed.
Event Name Events can be given custom names, up to a maximum length of 31 characters.
Event Enable Icon Events can be enabled or disabled individually by clicking the green Enable indicator to toggle its status.
All events can be disabled (suspended) and enabled using the
global Disable button.
Event Status The Event Status column shows Active (currently
in effect), Ready, Disabled or Test state. For more information
on the Status column, see Resetting Events on page 209.
Event List Commands You can test, reset, create, duplicate,

Event List items, commands and displays

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clear or delete events in the list. These commands can be performed using the on-screen buttons or by right-clicking on list
items. Multiple events can be selected to test, reset, duplicate,
clear or delete them, but only one new event can be created at
one time.

Triggers

Actions

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.

The Actions list shows the actions defined in the currently selected event, as well as commands to create and manage actions.
Action Type

Logical Operators

Trigger Type

Add
Triggers
List

Add

Behavior
State

Trigger Properties

Delay

Actions
List

Actions list items, commands and displays

Triggers list items, commands and displays

Actions List

Triggers List

Each event can have up to eight triggers in the list. Triggers

are shown in rows in the Triggers list. Right-click commands
let you select, edit, duplicate and delete triggers.

Each event can have up to eight actions in the Actions list. All
actions occur when the event is fired. Right-click commands
let you select, edit, duplicate and delete actions.
Add

Add

The Add pop-up menu lets you create new triggers. Triggers
are organized in the menu according to the type of console
function or input signal that initiates (or triggers) the event.
Types of triggers include channel functions, footswitch/GPI
inputs, snapshot recall, and other console functions such as
talkback.
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
input. Choices vary depending on the trigger type, and not all
triggers have editable properties.
Logical Operators

Multiple triggers can be considered conditionally by applying

a logical operator (AND, OR, XOR) to their properties.
Triggers and actions which are unavailable due to unavailable hardware or console configuration are shown as italicized in the Trigger (and Action) Add menus.

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.
Type and Properties

Each row in the Actions list shows the selected action Type.
Some actions have editable State and Behavior settings: all actions have a Wait (Delay) setting.
Footswitch and GPI Status

The Status display includes the Footswitch and GPI sections

(see Figure 18), which show the present open or closed status
of each logic port. Each footswitch or GPI port can be named.
Example uses of Switch and GPI inputs include remote snapshot recall from an external control system or custom control
panel, or access to a console mode such as Preview mode, from
any Function key or footswitch input.
Example uses of GPI output include the following:
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 console is in a
particular mode (such as Solo In Place)
Integrating with power sequencing devices for automated
system turn-on

Footswitch

GPI

Switch 1

GPI Inputs 12

Switch 2

GPI Outputs 12

Figure 18. Footswitch and GPI Status Display in the Events window
Chapter 23: Events 203

Creating Events
The basic steps to create an event include the following:
Add a new event in the Event List (see Adding an Event
on page 204).
Add and configure triggers for the event (see Adding
Triggers to an Event on page 205).
Add and configure actions for the event (see Adding Actions to an Event on page 207).
Several pre-defined (default) events are available immediately; others are available among the Demo Shows installed
with the system software. For more information, see Default Events on page 210.

Adding an Event

Moving Events

Selected events can be dragged and dropped to new locations

in the list. You can also manually edit the Event number to resequence items.
To move one or more events:
1

Select one or more events in the Event List.

Click in the row of any selected event and drag to a new location in the list. As you move events, a white line appears indicating the destination.

Release the mouse button 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 renumbered as necessary according to the
new sequence of events.

To add a new Event to the Event List:

1

Go to the Options > Events page.

Do any of the following:

To create an empty, untitled new event, click the New button in the Event Commands section.
or
To create a copy of a pre-existing event, select one or
more events in the list and click the Duplicate button.

To manually edit an Event number:

Double-click 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 right-click commands to rename, duplicate, delete, clear, enable or disable them.

Selecting Events

You can also use the Test and Reset commands to manually
audition events for development and diagnostics. For more
information, see Testing Events on page 208

Event list items can be selected, renamed, duplicated, deleted,

cleared, enabled or disabled, tested and reset.

Renaming an Event
To select one or more events, do any of the following:

To select a single event, click its row in the Event List.

To rename an event:

To select all events, right-click an event and choose Select

All.

Double-click the Event Name in the list. Or right-click the

Event Name and choose Rename.

To select multiple contiguous events, click the first desired event and then Shift-click (or Multi-Select-click)
the last desired event. All events in between are selected.

Enter a new name.

Click Enter to confirm the new name.

To select multiple discontiguous events, or to de-select an

individual event, Ctrl-click (or Fine-click) its row in the
Event List.

Duplicating an Event

Selected events
(blue)

Duplicating an event can simplify Event List configuration

when multiple, similar events need to be created, each with
slightly different properties.
To duplicate an event:
1

Select one or more events in the Event List.

Click the Duplicate button on-screen. Or, right-click a selected event and choose Duplicate.

Events selected in the Event List

To deselect or ore more events:

Right-click anywhere in the Event List and choose Deselect

All.
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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.

Do one of the following:

Disabling an event stops all delay timers (Wait properties) associated with that event, preventing any pending (delayed) actions from occurring.
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.

Click the Delete button on-screen.

Right-click a selected event and choose Delete.
Click Delete in the Confirm Event Operation dialog to delete
the event. Or click Cancel to cancel the operation.

Disable All Events

To clear an event:

The Disable button in the Events Commands section lets you

temporarily disable all events in the event list.

Select one or more events in the Event List.

Do one of the following:

To disable all Events:

Click the Clear button on-screen.

Right-click a selected event and choose Clear.
3 Click Clear in the Confirm Event Operation dialog to clear the
event. Or click Cancel to cancel the operation.

Click the on-screen Disable button in the Events Commands

area. The Disable button lights, and all items in the Event List
show Disabled in the Status column.

To re-enable Events:

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 enabled state of one or more events in the
list by clicking the on-screen Enable icons in the Event List, or
you can disable the Event List globally by clicking the master
events Disable button.

Click the Disable 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
on page 209).
Individual Event enable/disable status is preserved (events retain the current state of their Enable icons) and can be modified when globally disabling and enabling events using the
master Disable button.

Disable (all)

Disabling an event stops all timers (Wait/delay properties) associated with that event, preventing any pending (delayed) actions configured for While Active behavior from occurring.
Enabled
events
Disabled events
One selected event and two disabled events

Toggling Enable Status for Selected Events

To toggle the enable/disable status of an event in the list:
1

Select one or more events in the Event List.

Click the Enable icon for the selected event to toggle its state.
Or, right-click an item and choose Enable or Disable as appropriate. When the Enable icon is lit (green) the event is enabled;
when the icon is unlit the event is disabled.

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

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 on
page 209).

To add a trigger:

Select an event in the Event List, or create a new one. (For

details, see Selecting Events on page 204, and Creating
Events on page 204.)

Chapter 23: Events 205

Click the ADD pop-up menu in the Trigger list and select the
trigger type. The selected trigger type is added to the Trigger
list for the currently selected event, with its default properties.

2 Click 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.
Examples of Logical Operators

Logical operators determine the precise state required in order for an event to occur as shown in the following tables:
OR 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).
Example truth table for OR, showing two triggers

Adding a Trigger

For a list of available trigger types, see Trigger Types on

page 213.

Editing Trigger Type and Properties

To edit the trigger and its properties:

Double-click the trigger row in the list. Or right-click the action item and choose Edit.
1

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).

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.

Trigger A

Operator

Trigger B

Result

OR

OR

OR

OR

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

indicates a false condition (not occurring) and 1 indicates a
true condition (occurring).
Example Truth table for AND showing two triggers
Trigger A

Operator

Trigger B

Result

AND

AND

AND

AND

XOR

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.)

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).
Example Truth table for XOR showing two triggers
Trigger A

Operator

Trigger B

Result

The logical operator has no effect when the Triggers list includes only one item.

XOR

XOR

To choose a logical operator for the current event:

XOR

XOR

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Select the desired event to display its assigned triggers.

VENUE SC48 Guide

Managing Triggers in the Triggers List

Triggers in the list can be edited, duplicated and deleted.

Creating Actions

To edit a trigger:

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.

1 Double-click the trigger in the Triggers List. Or, right-click

the item in the list and choose Edit.

Adding Actions to an Event

Editing Triggers

To add an action:
1

Select an event, or create a new one.

2 Click the ADD pop-up menu in the Action list and select an
action type. The selected action type, with its default settings,
is added to the action list area.

Editing a trigger
2

Do any of the following:

To change the trigger type, click the Type pop-up menu
and make a new selection from the Type menu.
For Fader Above or Fader Below triggers, click the currently displayed dB value to highlight it, then type in a
new value.
For switches, buttons and other two-state functions, click
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.

To confirm your changes, press Enter or click anywhere else

in the Events window.

Selecting Triggers

Triggers can be selected using the same methods as used when

selecting items in the Event List. For more information, see
Selecting Events on page 204.
Duplicating Triggers
To duplicate a trigger:
1

Select one or more items in the Triggers List.

Right-click on any selected item and choose Duplicate.

Adding an Action

Deleting Triggers
To delete a trigger:
1

Select one or more items in the Triggers List.

Right-click on any selected item and choose Delete.

For a list of available actions, see Action Types on

page 214.

Chapter 23: Events 207

Editing an Action Type and Properties

Action Wait

To edit an action:

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.

Double-click the action row in the list. Or, right-click the action item and choose Edit.

Click the displayed action Type and make a new selection.

To configure action Wait (Delay):
1

Double-click the action to edit it.

To confirm your changes, click the Wait value to highlight it,

then type in a new value.

Selecting Actions
Action State

Actions can be selected using the same methods as used when

selecting items in the Event List. For more information, see
Selecting Events on page 204.

To edit an action State for switches, buttons and other two-state

functions:

Managing Actions in the List

Editing an action

Click 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 Behavior

Actions can be moved, renamed, duplicated, and deleted by

right-clicking them and choosing the desired operation, 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 on page 207.

To edit action behavior:

Click 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-click the action to edit it

Click the Behavior selector and choose Pulse.

Enter a value for Pulse Duration.

To confirm you changes, press Enter or click anywhere else

in the Events window.

Testing Events
An event can be manually triggered to test it, regardless of its
current Event Status or enabled/disabled state. Use this feature to verify action properties and confirm proper operation
of devices connected to GPI output ports.
When an event is in Test mode, it is effectively considered true
until the event is manually reset. An Event in test can be
re-tested at any time by again pressing the Test button. 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 cancelled.
Events always return to their ready state following a Reset.
Events wont re-fire until the trigger logic re-asserts itself as
true.
To test events:
1

Select one or more events in the Event List.

2 Click the Test button. Or, right-click an event and choose

Test from the pop-up menu.

When you're satisfied the event is behaving correctly, click

the Reset button. Or, Right-click an event and choose Reset.

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Resetting Events
You can use the Reset features to quickly reset Active or
in-Test events to ready. You can also use the Reset All command (in the Events Commands buttons) to immediately reset
all events in the list.
The current status of each event is shown in the Status column
in the Event List:
Event List Status indicators
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

Enabling of Snapshot modes (Preview, Propagate 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, Propagate and
Edit)

Snapshot Modes and Event Status

While in Propagate or Edit modes, events-driven snapshot recall is suspended.

Select one or more events in the Event List. (See Selecting

Events on page 204.)

While in Preview mode, triggers that occur in the online state

of the console are executed, including MTC-driven recall of
snapshots. Triggers caused by changes to the offline (Preview)
controls are ignored and do not cause events to occur.

Click the Reset button. Or, right-click an event and choose

Reset to reset an Active or in-Test event back to a Ready state.

Avoid Feedback Loops

To reset all events:

Because events can both affect and be affected by snapshots, it

is possible for events to cause feedback loops.

To reset an event:
1

Click 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 doesnt unlatch a previously
latched function.

All action delay timers (Wait) are immediately cancelled.

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.
Snapshot 003 is recalled (manually, MTC, other)

Event 011

Actions configured for While Active behavior are immediately cancelled.

Events will not occur until the trigger logic again evaluates
as true.

For example, lets 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 the 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.

Trigger:
Recall of Snapshot 003
Action:
Recall Next Snapshot

Result: Snapshot 004 is recalled

Event 414

Trigger:
Recall of Snapshot 004
Action:
Recall Previous Snapshot

Result: Snapshot 003 is recalled

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:

Diagram illustrating potential logic feedback loop between events and

snapshots

The global Event Disable 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 the
problem. For more information, see Resetting Events on
page 209.

Recall of specific snapshots

Chapter 23: Events 209

Default Settings, Templates and Examples

Default Events
Each Demo Show file on SC48 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 include the following:
Default Event Type and Name

Triggers

Actions

Footswitch 1

Switch 1 (Footswitch 1) Closed

undefined (choose an action)

Footswitch 2

Switch 2 (Footswitch 2) Closed

undefined (choose an action)

Preview Mode (F1)

Function Switch 1, Pressed

Preview mode, Toggle, Latch

(Flash F1)

Preview Mode, On

Flash Function Switch 1, On, While Active

Variable Groups Mode (F2)

Function Switch 2, Pressed

Variable Groups Mode, Toggle, Latch

(Flash F2)

Variable Groups Mode, On

Flash Function Switch 2, On, While Active

Copy Channel (F3)

Function Switch 3, Pressed

Copy Selected Channel

Light Function Switch 3, On, While Active

Paste to Selected Strip (F4)

Function Switch 4, Pressed

Paste to Selected Channel(s)

Light Function Switch 4, On, While Active

Tap Tempo

Function Switch 8, Pressed

Tap to define system tempo for delay plug-ins

that support Tempo Sync

Templates
The following table provides a listing of common 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.
Suggested event definitions for common functions

210

Trigger
Properties

Action
Properties

Action Type

Behavior

Event Name

Trigger Type

Talkback (Toggle)

Footswitch 1

Closed

Talkback

Toggle

Latch

Talkback (Momentary)

Footswitch 1

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 Channel (Momentary)

Footswitch 1

Closed

Mute

Ch 1

On

Toggle Input Safe Switch

mode

Function Switch 1/
User Switch

Pressed

Input Safe
Switch Mode

Tap Tempo

Function Switch 1/
User Switch

Pressed

Tap Tempo

VENUE SC48 Guide

While Active

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

To quickly test the switch trigger, click 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 on
page 206.)

After testing the trigger, click Reset to return the event to its
Ready state.

Create a new event.

Edit the event name (for example, Talkback (Toggle) as

shown in the table). For renaming instructions, see Renaming
an Event on page 204.

Click 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.
3

Click the (Action) Add pop-up menu and choose Talkback.

The Talkback action is added. By default, the action State is
Toggle, and the behavior is Latched. There is no Wait (delay before firing) needed for this action.

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.

Switch 1 (Footswitch 1) is now configured to toggle Talkback

On or Off each time the footswitch is pressed.
If you prefer momentary talkback, edit the event by doing the
following.
1 Double-click the Talkback action in the Actions list to access
its editable properties. Or, right-click the action and choose
Edit.

Action Type

State

Behavior

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.
A preconfigured Event for tap tempo is installed in the
Demo Shows folder when you install VENUE software. To
use the example Event, go to the Filing page and click the
Load tab, then select the file Tap Tempo Examples and click
the Load button.

Using Tap Tempo

Do the following three steps to start using Tap Tempo:
Enable the System Tempo
1 Go to the Options > Misc page, locate the Tap Tempo section
and do the following:

Turn on the global tempo sync by clicking the On switch

directly below the encoder so that it is lit (on).
An action and its properties ready to be edited.

If desired, use the encoder to set a system tempo value, or

type a value directly into the Tempo field.

Click the action State pop-up menu (it displays Toggle by default, or the current State setting) and select On.

If desired, click the Units selector to choose Beats Per Minute (BPM) or Milliseconds as the units for displayed values.

3 Click the action Behavior pop-up menu and select 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.

Units

On/Off

Tap Tempo settings

Talkback State and Behavior after editing

Chapter 23: Events 211

Create a Tap Tempo Event

Tips for Using Tap Tempo

2 Go to the Options > Events page and do the following in the

order presented:

The plug-in Tempo Sync switch enables/disables that individual plug-ins delay value from following the system tempo.
Use the individual plug-in Tempo Sync switches to sync one,
some or all delay plug-ins.

Create a new Event and call it Tap Tempo.

Click the Add button in the Trigger area, and select the
User switch, an available Function switch (F switch), or
an available Footswitch.
Click the Add button in the Action section, and choose
Tap Tempo.
Enable the Plug-ins Tempo Sync and Start Tapping

Next, navigate to a delay plug-in and enable its Tempo Sync

switch. Repeat for other delay plug-ins you want to sync.

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 on page 196.

Tempo Sync

Tempo Sync in ModDelay and Line6 Echo Farm

3 Tap the assigned Tap Tempo trigger (User switch, 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.

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Trigger Types
The following table lists the available trigger types and properties, along with a description of each.
Table 8. Trigger List, with default settings
Trigger Type

Property 1

Property 2

Description

Fader Above

Channel name/number

Fader level inf to +12 dB

(Default: 60 dB)

Fader moved above threshold level

Fader Below

Channel name/number

Fader level inf to +12 dB

(Default: inf)

Fader moved below threshold level

Mute

Channel name/number

On (default)
Off

Mute active/inactive

Solo/AFL

Any input, output, VCA,

Solo In Place

On (default)
Off

Solo/AFL active/inactive

Function Switch

Function Switch 18

Pressed (default)
Release

On button press (down)

On button release (up)

Footswitch

Footswitch 1, 2

Open
Closed (default)

Footswitch input high

Footswitch input low

GPI Input

GPI input 12

Open
Closed (default)

GPI Input high

GPI Input low

Pressed (default)
Release

On button press (down)

On button release (up)

User Switch

Recall Snapshot

Snapshot number and name

Event triggered by snapshot

Preview Mode

On (default)
Off

Preview Mode active/inactive

Propagate Mode

On (default)
Off

Propagate Mode active/inactive

Edit Mode

On (default)
Off

Edit Mode active/inactive

Talkback

On (default)
Off

Talkback active/inactive

Flip to Faders

On (default)
Off

Flip to Faders active/inactive

Show Mode

Console Show Mode is active

Config Mode

Console Config Mode is active

System Start

System software initialized

Plug-In Rack Ready

Mirrors plug-ins rack Ready state

Chapter 23: Events 213

Action Types
The following table lists the available Action types and properties, along with a description of each.
Table 9. Action types
Action Type

Property

State

Behavior

Target Next Channel

Selected Channel advances by one

Target Previous Channel

Selected Channel reverses by one

Copy Selected Channel

Channel copy operation

Paste to Selected Channel(s)

Channel paste operation

Mute Channel

Channel
name/number

On
Off
Toggle (default)

Latch (default)
While Active

Mute selected channel

Mute Group

Mute Group
18

On
Off
Toggle (default)

Latch (default)
While Active

Toggle Mute group status

On
Off
Toggle (default)

Latch (default)
While Active

Mute all stage outputs

Mute All Stage Outputs

Clear Solos

Mirrors console Solo Clear

Light Function Switch

18

On
Off
Toggle (default)

Latch
While Active
(default)

Lights Function switch

Flash Function Switch

18

On
Off
Toggle (default)

Latch
While Active
(default)

Flashes Function switch

Light User Switch

On
Off
Toggle (default)

Latch
While Active
(default)

Lights User switch

Flash User Switch

On
Off
Toggle (default)

Latch
While Active
(default)

Flashes User switch

Recall Snapshot

214

Description

Snapshot number and name

Recall specified snapshot

Recall Next Snapshot

Mirrors Snapshot Next switch

Recall Previous Snapshot

Mirrors Snapshot Previous switch

Recall Selected Snapshots

Mirrors Snapshot Recall switch

Store to Selected Snapshot

Mirrors Snapshot Store switch

Preview Mode

On
Off
Toggle (default)

Propagate Mode

On
Off
Toggle

VENUE SC48 Guide

Latch
While Active
(default)

Activate/deactivate Preview Mode

Propagate mode active while trigger

is true

Table 9. Action types

Action Type

Property

State

Behavior

Description

Absolute Edit Mode

On
Off
Toggle (default)

Enters Edit mode when trigger is

true; exits via Absolute when trigger
goes false

Relative Edit Mode

On
Off
Toggle (default)

Enters Edit mode when trigger is

true; exits via Relative when trigger
goes false

GPI Output

12

Open
Closed (default)
Toggle

Pulse, 0.3s (default)

Latch
While Active

Flash Console Lights

Pulses or latches selected GPI Output

Flashes console lights

Top Row Flip to Faders

(D-Show Main only)

On
Off
Toggle (default)

Latch (default)
While Active

Mirrors top encoder row Flip to Faders

Bottom Row Flip to Faders

On
Off
Toggle (default)

Latch
While Active
(default)

Mirrors bottom encoder row Flip to

Faders (D-Show Main only)

On
Off
Toggle (default)

Latch (default)
While Active

Mirrors console function

Talkback

On
Off
Toggle (default)

Latch (default)
While Active

Toggles the Talkback output on/off

Variable Groups Mode

On
Off
Toggle (default)

Latch (default)
While Active

Toggles Variable Groups Mode

on/off (only if console config is
24-bus mode)

Link Main and Sidecar(s)

(D-Show Main only)

Faders
Encoders
Both

Input Safe Switch Mode

Cycles through Input Safe Switch

modes

Tap Tempo

Sets the system tempo to synchronize delay plug-ins that support

Tempo Sync

Cue on Mains Fader

Maps Cue level (Solo/Monitor bus)

level to the Mains fader; maps Mains
to Output encoders 13

Cancel Operation

Mirrors console Cancel switch (and

Esc key on keyboard)

Chapter 23: Events 215

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Chapter 24: Synchronization

VENUE SC48 provides a set of MIDI-based synchronization

features that allow automation and remote control of snapshots, and triggering of external devices when snapshots are
recalled.

Control MTC playback from the MTC generator controls by

doing any of the following:

Start MTC playback by clicking the Play button.

Pause MTC playback by clicking the Pause button.
Stop MTC playback and reset to the Start Time by pressing the Stop button.

Read this chapter to become familiar with the basics of synchronization in VENUE. For more examples and advanced
configuration suggestions, see the Live Recording Guide .

Automating Recall of Snapshots with

MIDI Time Code
You can automate the recall of snapshots with MIDI Time
Code (MTC). The VENUE system can trigger snapshots with
internally generated MIDI Time Code, or it can read MIDI
Time Code from an external source.
For instructions on MIDI and other connections required
for synchronization, see Chapter 2, Configuring and Connecting SC48.

Generating MIDI Time Code

MIDI Time Code controls

Reading External MIDI Time Code

The VENUE system can slave to external MTC and automate
the recall of snapshots based on the incoming MTC.
To read external MIDI Time Code:
1

Go to the Options page and click the Snapshots tab.

Under MTC Mode, click Read. A MIDI Time Code display appears at the bottom of the screen.

You can set the VENUE system to generate MIDI Time Code
and automate the recall of snapshots based on MTC playback.
To generate MIDI Time Code from the VENUE system:
1

Go to the Options page and click the Snapshots tab.

Under MTC Mode, click Generate. MIDI Time Code generator

controls appear at the bottom of the screen.

MIDI Time Code display

VENUE automatically detects the frame rate of the incoming

time code (24 fps, 25 fps, 30 fps drop, or 30 fps non-drop).
The MIDI Time Code display indicates the following:
When MIDI Time Code is not present, the display shows a
series of dashes.
When MIDI Time Code is present, the current time code
value is shown in green.

Setting the MIDI Time Code Mode

3 Choose the MTC Frame Rate from the Frame Rate pop-up
menu (24 fps, 25 fps, 30 fps drop, or 30 fps non-drop).

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.
4

Chapter 24: Synchronization 217

Snapshot MIDI Time Code Display

Capturing Time Code Values in Snapshots

When the system is set to generate or read MIDI Time Code,

the Snapshots List shows time code values and a green Recall
Enable indicator for each snapshot entry.

To capture the current MTC value in a new snapshot:

1 With the system in MTC Read or Generate mode, start time
code playback.
2

Do one of the following:

During playback, click the New button.
or
Pause playback at the time code value you want to capture, and click the New button.

Snapshots List showing time code values and indicators

A new snapshot appears with the time code value at the time of
creation.

Assigning Time Code Values to

Snapshots

To capture the current MTC value in an existing snapshot:

With the VENUE system set to generate or read MIDI Time

Code, you can assign time code values to snapshots by entering values manually, or by capturing MTC playback values.

Time Code To.

Right-click the snapshot in the Snapshots list and choose Set

The time code value is updated to the currently displayed

value.

Manually Assigning Time Code Values to

Snapshots

Sorting Snapshots by Time Code Value

To manually assign an MTC value to a snapshot:

You can sort snapshots in the Snapshots list by Time Code

value, so that they appear in chronological order.

In the Snapshots List, double-click the MTC value you want

to change.

When chasing to MTC, snapshots will always recall in

chronological order, regardless of their order in the Snapshots list.
To sort snapshots by their assigned MIDI Time Code value:

Snapshot showing selected MTC value

2

Right-click any snapshot in the Snapshots list and choose

Re-Sort All By Time Code.

Do one of the following:

From the keyboard, type a new MTC 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.

Press Enter or click another snapshot MTC value to accept

the entry.

Right-click menu for items in the Snapshots list

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Enabling Snapshots for Automated Recall

With time code values assigned to snapshots, you can then enable snapshots for recall with time code playback.
To enable snapshots for automated recall with MTC:
Click 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.

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.
Snapshots are recalled when their snapshot number (1999) is
received in the form of MIDI Bank Select and Program Change
messages. (See Table 10 on page 219.)
To enable recall of snapshots from an external device:
1

Snapshot enabled for automated recall with MTC

Chasing MIDI Time Code

Go to the Options page and click the Snapshots tab.

2 Under MIDI, select the S napshots Respond to Channel option, and choose the MIDI channel from the corresponding
pop-up menu.

With snapshots enabled for automated recall, the Chase MTC

function needs to be engaged to allow automated recall to occur.
To initiate automated recall of snapshots:
1

Click the Chase MTC button so that it is highlighted.

Begin MTC playback by starting the internal generator (if set

to MTC Generate) or the external device (if set to MTC Read).

Snapshot MIDI respond option

When a recall-enabled snapshots time code value is reached,

the snapshot is recalled.

The system listens on the specified channel for Bank Select

and Program Change messages.

Snapshot modes can affect MTC recall. For more information, see MTC and Other Online Event Triggers on
page 194.

The Chase MTC button can be used to quickly take VENUE

system offline from MTC-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.
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 console before beginning time code playback. For more information, see Selecting and Recalling
Multiple Snapshots on page 183.

The MIDI Snapshot Output Safe option does not affect this
option. You can only turn off this feature by deselecting the
Snapshots Respond to Channel option.
Table 10. MIDI Bank and Program Numbers for Snapshots
Bank

Program

Snapshot Number

0127

001128

0127

129256

0127

257384

0127

385512

0127

513640

0127

641768

0127

769896

0103

897999

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.

Chapter 24: Synchronization 219

Triggering of External Devices on

Snapshot Recall

Sending MIDI Messages on Snapshot

Recall

The VENUE system can be set to send MIDI Bank and Program
Change messages whenever a snapshot is recalled, to trigger
external devices whose cues are related to snapshots. You can
set the system to send on any one of 16 available MIDI channels.

You can add up to 20 specific MIDI messages to each snapshot.

These messages are sent whenever the snapshot is recalled.
Sending of the messages is enabled with the MIDI scope control in the Snapshots window. For more information, see
Chapter 22, Snapshots.

MIDI output is automatically suspended while in Preview

mode. For more information, see Preview Mode on
page 191.

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 correspond to the snapshot number, even after
snapshots are rearranged in the Snapshots list.
The Bank Select and Program Changes messages reflect the
number (1999) of the recalled snapshot. (See Table 10 on
page 219.)
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.
To enable triggering of external devices when snapshots are
recalled:
1

Go to the Options page and click the Snapshots tab.

Under MIDI, select the Snapshots Send on Channel option,

and choose the MIDI channel from the corresponding pop-up
menu.

Snapshot MIDI send option

The VENUE system sends a Bank Select and Program Change

message on the specified channel whenever a snapshot is recalled.
The MIDI Snapshot Output Safe command does not affect
the option to send on specific MIDI channels. You can only
turn off this feature by deselecting the Snapshots Send on
Channel option.

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VENUE SC48 Guide

Synchronizing with Word Clock and

Digital Audio Input
VENUE systems receive and output Word Clock (at a sample
rate of 48 kHz 10ppm) for synchronization with a master
clock generator (house sync) or other device that uses clock
reference. VENUE systems can operate as a Word Clock master, or it can slave to Work Clock input.
The Word Clock In and Word Clock Out ports are located on
the back panel of the SC48.

Synchronizing with Digital Audio Input

VENUE SC48 automatically synchronizes to the signal on digital inputs, performing sample rate conversion as necessary to
the VENUE native sample rate of 48 kHz.
This lets you connect a variety of digital sources (such as a
DAT machine or CD player with digital outputs), directly to
the digital 2-track inputs on the back of the SC48.
For instructions on Word Clock and digital audio connections
for synchronization, see Chapter 2, Configuring and Connecting SC48.

Chapter 25: Using the Standalone Software

VENUE Standalone software lets you do all of the following to

preconfigure performances, wherever you can use your laptop:
Learn the basics of the VENUE software interface in preparation for working at a full VENUE system.

System Requirements
The following are the minimum system requirements for using the VENUE Standalone software:

Assign hardware I/O and routing, and name channels.

Computer running Windows XP Pro or XP Home

Edition O/S, Service Pack 1 (Macintosh not supported)

Set channel input, EQ, dynamics, pan, and other settings.

Minimum 1024 x 768 screen resolution

Create and maintain a library of setups, with access to

nearly all parameters available on the control surface.

Minimum 16-bit color graphics, 32-bit recommended

Store and recall Snapshots, and configure Events.

Minimum 200 MB of available hard disk space, 512 MB

recommended

Minimum 256 MB RAM, 512 MB recommended

Use the Filing features to transfer Shows, Shows Folders,

and plug-in presets to/from a compatible USB storage device to transfer data between the standalone software and
VENUE.
Transferring data must be done to/from a compatible USB
storage device such as a USB key disk or other external USB
hard drive.

Differences Between Standalone

Software and a VENUE System

CD-ROM drive for installation (unless installing from

web-download)
Available USB 1.1 or 2.0 port and compatible USB storage
device (such as a flash disk, key disk or other external
hard drive) for file transfer
Installation requires Windows Administrator permissions.
Once installed, the software can be run under Admin or User
accounts.

The Standalone software is nearly identical to that on a full

VENUE system, with the following differences:

Installing the Standalone Software

Audio Throughput

To install the VENUE Standalone software:

You cannot play audio through the Standalone software.

Real-time audio requires the VENUE hardware.

Download the VENUE Standalone Software Installer

from the Avid website (www.avid.com).

Plug-In Editing

When a Show is transferred from a complete VENUE system,

all plug-ins installed on the VENUE system are visible in the
Standalone software as offline (unavailable) plug-ins. You can
assign offline plug-ins to racks, and assign plug-in rack routing in the Standalone software, and save the routing in snapshots.
You cannot install plug-ins or adjust plug-in parameters
unless you are working on the complete VENUE system.
Hardware Configuration

In the Standalone software, you can simulate the hardware

configuration of a destination system from the Devices tab of
the Options page.

Do one of the following:

or
Insert your VENUE Software Installer into the CD-ROM
drive on your Windows XP-compatible computer.
Launch the installer and follow the instructions on-screen.
The VENUE Standalone software requires no authorization.

Removing the Standalone Software

To remove the VENUE Standalone software:
1

Launch the Add/Remove Programs Control Panel.

Choose VENUE, then follow the instructions on-screen.

Chapter 25: Using the Standalone Software 221

Simulating a VENUE Configuration

Transfer and Filing Quick Start

You can use the Standalone software to simulate a VENUE system with any number of input and outputs. The corresponding
inputs and outputs become available in the Patchbay, allowing
you to prepare a show that can transfer directly to the destination system.

The basic steps for using the Standalone software and data
transfer are as follows:
Save data to disk, then transfer it to an external USB storage
device.
Transfer data from the USB device, then load the data.

To simulate a VENUE system:

1

Launch the Standalone software.

Go to the Options page and click the Devices tab.

Right-click the console graphic and choose the type of console you will be working with.

Right-click an I/O graphic and choose the type of I/O (as

available) and specify the number of Input and Output cards
on the destination system.

For complete instructions on transferring data, see

Chapter 21, Shows and File Management.

Save and Transfer Data from a

VENUE System
To save and transfer data from the complete system:
1

Connect a USB storage device to a VENUE USB port.

Use the Save tab of the Filing page to save VENUE data to
disk.

Go to the Filing page and click the Transfer tab.

Do one of the following to select the type of data to transfer:

To transfer all data, click the Console icon.
To transfer Console Settings (the current state of the console, equivalent to an auto-saved Show file), click the Settings icon.
To transfer Show Folders, click the Show Folders icon.
To transfer individual Shows, click the Shows icon.
To transfer Preset Folders, click the Preset Folders icon.
To transfer Presets for individual items, click the Built-In
icon or the Plug-In icon and choose a processor, plug-in or
Input Channel Presets item from the pop-up menu, or
click the Scope Sets icon.

Adding Stage Rack inputs and outputs

5 In the left column, select the items you want to transfer from
VENUE to the portable storage device.

Transferring Show files from VENUE

6

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VENUE SC48 Guide

Click the Transfer button.

Transfer and Load Data to the

Standalone Software
Connect the USB storage device to your laptop. Make sure
the drive is mounted before proceeding.

Launch the VENUE standalone software.

Go to the Filing page and click the Transfer tab.

Make sure your USB disk is available in the list at right.

Click the Console, Settings, Show Folders, Shows, Preset

Folders, Built-In, Plug-In or Scope Set selectors to select the
type of data you want to transfer.
5

Creating and Editing Shows and Presets

Use the techniques explained throughout this guide to assign
routing, rename channels, and to configure other parameters.
Then do the following to save and transfer your work to a complete system.
To save and transfer VENUE data from the standalone software to
the complete system:

Connect a USB storage device to an available USB port on

your laptop.

Using the Save tab of the Filing page, save data to disk.

3 Go to the Filing page and click the Transfer tab, and transfer
saved data to a compatible USB storage device.
4 Connect the USB storage device to an available USB port on
the complete system.

Use the Transfer tab of the Filing page to transfer the VENUE
data from the USB storage device.

Use the Load tab of the Filing page to load the transferred
data.

CD Transfer

The VENUE SC48 provides a CD-ROM drive that can also be

used as a source device for VENUE data transfer. (You cannot
write data to the FOH Rack CD-ROM drive; it is read-only.)
Click
Transferring a Scope Set for the standalone software

Click the Transfer button. The data is transferred from the

USB device to the appropriate VENUE data folders on the laptop.

To use a CD for transfer:

Using the Standalone software on a laptop or other computer, create and save a show.

If you chose Console, data is automatically loaded and applied. If you chose any other data type, go to the Filing page
and click the Load tab, and load the newly transferred data
into the Standalone software.

Locate the VENUE data folder on the system drive.

Copy that folder and its contents to a CD-ROM. Make sure

the folder is at the root level of the CD-ROM.

Burn or write the disc as a Windows-compatible CD-ROM.

Insert the CD-ROM into a VENUE CD-ROM drive.

In the Filing screen, select the CD-ROM drive as the source

for file transfer.

When the transfer is complete, eject the CD-ROM.

Leaving a disc in the CD-ROM drive of a VENUE system can
slow down the response of some software screens, so it is recommended that you not leave any disc in the drive during a
performance. This only applies to a VENUE CD-ROM drive
(not the laptop on which youre running the standalone
software).

Chapter 25: Using the Standalone Software 223

Exporting System Information and

Patchbay Information
With Standalone software, a complete system description
and/or the contents of each Patchbay page can be exported to
a text file. These can be useful for generating an input list (line
list) directly from the system. For example, build and customize the Patchbay for an upcoming show, then export and print
the channel names list for use during sound check.
To print a system description:
1

Go to the Options > System tab.

Click the Info button and follow the on-screen instructions

to print a complete system description.

For more information, see VENUE System Information Export on page 110.
To export Patchbay names:
1

Go to the Patchbay page you want to export.

Click the Export Patch List icon in the upper right corner of
the screen.

Click to export
as HTML

Export Patch List button

The Patchbay names appear in an open HTML file that you can
save and print, or open in an HTML-compatible application
for formatting or other modification. For more information,
see Patch List Export on page 111.

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VENUE SC48 Guide

Part VI: Specifications

Chapter 26: Mechanical Specifications

VENUE SC48 Mechanical Specifications

Maximum Height (front)
Maximum Height (rear)

3.9 inches (100 mm)

7.3 inches (186 mm)

Maximum Width

38.95 inches (989 mm) with endcaps

37.6 inches (954 mm) without endcaps

Maximum Depth

28.15 inches (715 mm)

Weight

125 lbs (56.7 Kg)

Power Requirements

100240 V, 5060 Hz, 200 W

USB Ports (5)

USB 2.0

1394

1394 Firewire (for Pro Tools LE only)

GPI Port

DB9 female

Footswitch Connectors (2)

1/4-inch TRS

MIDI (In/Out)

5-pin DIN female

Word Clock (In/Out)

BNC female

VGA Port

DB-15 mini-female (1024 x 768 resolution)

DVI Port

DVI female (1024 x 768 resolution)

ECx Ethernet Control

RJ-45 (for ECx remote control)

Console Light Connectors (2)

XLR3F

See the Stage 48 Guide for Stage 48 mechanical specifications.

Chapter 26: Mechanical Specifications 227

37.6 inches (954 mm) without endcaps

7.3 inches (186 mm)

38.95 inches (989 mm) with endcaps

28.15 inches
(715 mm)

3.9 inches (100 mm)

Dimensions, VENUE SC48

228

VENUE SC48 Guide

Chapter 27: Audio Specifications

VENUE SC48 Console Audio Specifications

Internal Sample Frequency

48 kHz

External Sample Frequency

48 kHz +/ 10 ppm (word clock input)

Processing Delay

less than 2.3 ms (48 channels, stage input through LR bus to stage output)

Internal Processing

up to 48-bit, fixed point

288 dB internal dynamic range

Frequency Response

+/ 0.2 dB (22 Hz 20 kHz BW, relative to 1 kHz)

THD + N

90 dB (0.003%) stage input to LR bus, input gain @ min, 1 dBFS output,

20 Hz 20 kHz BW

Dynamic Range

108 dB typ

Maximum Voltage Gain

84 dB (stage input to LR bus, channel & LR faders @ max)

Crosstalk

100 dB typ (Adjacent stage inputs to LR bus, @ 1 kHz)

Residual Output Noise

90 dBu typ (20 Hz 20 kHz BW)

VENUE SC48 Headphone Output

Connector

1/4-inch TRS unbalanced

Output Impedance

50 ohms

Max RMS Power Output

(at +21 dBu:

(with 32-ohm phones) 106 mW

(with 600-ohm phones) 130 mW

All specifications subject to change.

Chapter 27: Audio Specifications 229

Stage I/O
AI16 Analog Input Card
AI16 Analog Input Card
Connectors (x16)

XLR3F, balanced

Phantom Power

+48V, (individually switchable per channel via software), 10 mA max

Maximum Input Level

+32 dBu, with Pad *

Pad

20 dB

Gain

+10 dB to +60 dB

Input Impedance

pad off: 5.5k Ohm, leg to ground

pad on: 3.8k Ohm, leg to ground

EIN

126 dBu typ (Max gain, 150 ohm source, 20 Hz 20 kHz BW, unweighted) *

A/D

24-bit, delta sigma

AO16 Analog Output Card

AO16 Analog Output Card
Connector (x16)

XLR3M, balanced

Maximum Output Level

+24 dBu *

Output Impedance

50 ohm, leg to ground

D/A

24-bit, delta sigma, 128x oversampling

* 0 dBu = 0.775 V rms

If your system contains a different type of I/O card, see the guide that came with that I/O option.

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VENUE SC48 Guide

FOH I/O
Talkback Input
Connector

XLR3-F

Phantom Power

+15V @ 6mA (switchable)

Sensitivity

2 to 32 dBu (variable in 6 gain steps)

Input Impedance

4k Ohm

2-Track Analog Inputs

Connector

1/4-inch TRS

Maximum Input Level

+24 dBu

Input Impedance

10k Ohms

2-Track Analog Outputs

Connector

1/4-inch TRS

Maximum Output Level

+24 dBu

Output Impedance

50 ohms

2-Track Digital AES Inputs

Connector

XLR3-F

Format

AES/EBU

Word Length

24-bit

Sample Rate

48 kHz

Sample Rate Conversion

3:1 ratio

2-Track Digital AES Outputs

Connector

XLR3-M

Format

AES/EBU

Word Length

24-bit

Sample Rate

48 kHz

Dithering

No

Channel Status Info

Pro, Audio 48K, No Emphasis

Chapter 27: Audio Specifications 231

232

VENUE SC48 Guide

Chapter 28: Signal Flow Diagrams

VENUE SC48 Input Signal Flow Diagram

Chapter 28: Signal Flow Diagrams 233

VENUE SC48 Output Signal Flow Diagram

234

VENUE SC48 Guide

Chapter 29: 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
elsewhere 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 11. Troubleshooting Errors and Messages
Symptom or Message

Possible Cause

Solution

Faders, Switches, Channels, and Devices

Fader stuck

Fader path was blocked during startup calibration

Reset the unit on which the stuck fader resides by right-clicking the unit in the Options > Devices page and choosing
Reset. If possible, wait for a silent portion of a performance
to avoid unexpected gain changes upon reset. For details,
see Hardware Monitoring Window on page 240).

Only faders and mutes are

working

Backup personality is in effect

Wait for the system to recover and follow instructions

on-screen to resume operations (see Resuming Normal
Operation on page 238).

Channel meter Stereo

LED is flashing

Indicates a difference of 12 dB or more

between the two sides of the stereo signal.

Trim source levels or input gains to balance.

Cannot pan an Aux Send

from the ACS

Aux panning is configured to follow channel

pan

In the Options > Busses page, select the Follows Channel

Pan option. Deselect for each Aux Send you want to pan
independently from channel pan.

The VENUE software has been forced to

restart and the backup personality is now in
effect.

Continue mixing using features available while the backup

personality is in effect (see In Case of System Failure on
page 237). Follow the instructions on-screen to resume
operations after a restart (see Resuming Normal Operation
on page 238).

Startup and Restarts

System failure and restart,
then the Resume Operations dialog appears

Chapter 29: Troubleshooting 235

Table 11. Troubleshooting Errors and Messages

Symptom or Message

Possible Cause

Solution

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 Performing a Soft Reset on
page 239.
Clear the console from the Options > System Config page
and see if problems persist.
If necessary, you can reinstall VENUE software (see Updating or Re-Installing on page 241).
If you suspect problems with the system hard drive, or the
system software, you can do a complete restore (see Full
System Restore on page 241).
Power down all equipment and check all cards and cable
connections and power supplies.

The plug-in racks need to

be re-initialized

The racks have gone offline. The racks go

offline whenever the backup personality is
in effect, and 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

Re-Initializing the Plug-In Racks on page 238).

One or more plug-ins are

unavailable

A Show was loaded that references

plug-ins which are unavailable on the current system

Install the plug-ins, if available (see Installing and Authorizing Plug-Ins on page 151).
Remove or replace the plug-ins in the Show, or load a different Show file.

A plug-in is not fully compatible and is causing 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 eliminates problems (see Enabling and Disabling Installed
Plug-Ins on page 154).

A plug-in is installed that needs to be authorized 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 on
page 151.)

A plug-in demo has expired

Uninstall the plug-in listed in the authorization dialog (see

Removing Plug-Ins on page 152).

Bad or missing connection

Check all cables and connections. Make sure digital grade

XLR cables are being used to connect Main Unit and all
Sidecar units (VENUE D-Show systems only).
Check to make sure that the last Sidecar in the chain is properly terminated (original D-Show systems only).

A unit needs to be reset

Reset the component in Options > Devices. If necessary,

restart the VENUE system.

Plug-Ins

Plug-in authorization dialogs appear every time the

system starts or restarts

Error Messages
One or More Units have
Failed

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Table 11. Troubleshooting Errors and Messages

Symptom or Message

Possible Cause

Solution

Plug-In Racks Need

Reset

The racks have gone offline due to the

backup personality being in effect, 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

Re-Initializing the Plug-In Racks on page 238).

Power Supply Alert

A power supply is failing or is not plugged

in.
A power supply jumper switch is set incorrectly.

Click Review to show the Options > Devices page. Reset

units as needed (see Hardware Monitoring Window on
page 240).

Control Surface Change

(VENUE D-Show systems
only)

A unit Bus ID has changed, a new console

has been detected, or a new sidecar has
been detected.

Click to clear the message. Check unit Bus IDs to make sure
input channel strips are arranged as desired.

Date & Time Check

System clock setting for time of day should

be checked against current time.

Check and reset system time in the Options > Misc page.
Incorrect system time can affect data transfer and plug-in
authorizations.
If clock problems persist, the battery may need to be
replaced.

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 conversion maintains digital throughput, allowing you to check
settings and connections between VENUE and external digital devices later. For more information on digital connections
and synchronization, see About Digital Input and Sample
Rate Conversion on page 16.

Hardware Monitor Alert

The system has detected a hardware component that is performing above or below its
hardware specification.

Click HW Monitor to access the Hardware Monitor WIndow

for the device. See Hardware Monitoring Window on
page 240.

In Case of System Failure

VENUE systems include multiple redundancy and fail-safe
routines that help protect against problems that could interrupt audio. These include the ability to maintain mix control
even if a failure occurs, to reset software and hardware components, and to completely reset and reinstall the system software.

While the backup personality is engaged, a dialog appears

on-screen in the banner display. The system then begins to reset itself in the background, while you can continue to use the
faders and mute switches to perform basic mixing. Plug-Ins
continue to process audio but their controls cannot be
changed until the process is complete.

For maximum protection, Redundant Power Supplies are

available. For systems that utilize one or more VENUE hardware racks, redundant Snake options are available to provide
additional backup system communication for uninterrupted
operation.

Maintaining Mix Control

If at any time the system fails, or if the system is reset or restarted, the VENUE software backup mode is automatically
engaged to maintain audio throughput and essential mix control.

Chapter 29: Troubleshooting 237

Features that Remain Active

The following essential mixing features remain available while

the backup personality is engaged:
Bank Input Channels (Banks AD); adjust levels and mutes.
(FX Returns are banked independently of Input Channels.)

Resuming Normal Operation

(Exiting the Backup Personality)

When the system has recovered and is prepared to return to

normal operation, the Ready to Resume dialog appears
on-screen.

Bank to FX Returns; adjust faders and mutes

Bank Output faders; adjust faders and mutes
Control VCA masters, including VCA mutes, and have all
members of the VCA group reflect VCA adjustments
Display the correct name for any fader in its LCD display,
even while banking
Meter input signals on the channel input meters, and meter
bus outputs on the assignable meters. Meter mode selection
buttons remain active on meterbridge (however, Meter
mode does not automatically follow output selection, if configured to do so).

Ready to Resume dialog

Choices in the Ready to Resume dialog give you options for

how and when critical functions are brought back online. Utility functions are also provided for reset and diagnostics, as described in the following sections.

Compressor and gate meters remain active for all Input

Channels (however, Comp In and Gate In switches are not
available)
Meterbridge System Status LEDs turn off (VENUE D-Show
and Profile only)
Channel select is disabled for all inputs and outputs
Switch the Mute Group Masters, and see the effect on the
channels with member-mutes (flashing mute switches)

All LCD displays illuminate (orange)

Adjust near-field monitor and headphone levels

Unavailable Features

The following features are unavailable while the backup personality is in effect:
Use the ACS
Modify any other mixing parameters apart from faders
and mutes (for example auxes)

Because this process can interrupt audio throughput, wait

for a silent portion of the performance before confirming
(such as a break between songs, intermission, or similar).
Resume Operations Use this option if you need to wait for a

break in a performance to complete the resumption of normal

operations.
Reset Mix Engines Use this option to do a full system reset in
one step. All operations and controls including the plug-in
racks return to full operation. This is the fastest way to resume
operations, but it may interrupt audio.
More Options Use this option to clear the console (reset, or
zero the board), or to perform hardware diagnostics.

Resume Operations

This option begins the process of resuming operations and lets

you control precisely when the plug-in racks are re-initialized.

Use solos or Solo In Place

To begin the Resume Operations process:

Change the input or output routing, or order of inputs

Make stereo, or unlink stereo to discrete mono channels

Channel Control and Flex Channel
Change bus or group assignments, or Group spill
Change VCA membership, VCA spill, or show VCA members

Click Resume Operations. The console resets all parameters

and configuration settings. When completed, the Plug-In
Racks Reset dialog appears to let you initiate the process of
re-initializing the plug-in racks.

Reset the plug-in racks (see next).

Re-Initializing the Plug-In Racks

Change names or access any Filing functions

Reconfigure any system parameters in the Options
screens
Access GEQs on the faders (GEQs continue to process audio in backup mode)
Adjust the parameters of any existing Plug-In
All LED indicators (except meters) and output fader CAL
lights go dark and are inactive
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The plug-in racks are taken offline during a Resume Operation

process. Whenever the plug-in racks go offline they will need
to be reinitialized to resume normal operation.
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 passing through. This is especially important when
using crossover plug-ins or gain-attenuating plug-ins.

The following conditions apply when resuming operations

When offline, plug-ins on Input Channels and FX Returns
continue to pass and process audio using their settings at
the time the racks went offline.
Offline plug-ins on output channels and busses 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 resume 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:

In the Plug-In Racks Reset dialog, click Reset to begin the

plug-in rack re-initialization.

To reset the Mix Engines and all operations immediately:

Click Reset Mix Engines in the Ready to Resume dialog.

Operations are brought back online; no further interaction is

required (no warning or confirmation dialogs appear).
More Options

Additional options are provided to clear the console, or to run

DigiTest (hardware diagnostics).
To access additional options:

Click More Options.

After clicking More Options, a dialog is displayed that provides the following options.
Clear Console
Click Clear Console to reset all parameters on all channels to
their factory default settings.

Run DigiTest

DigiTest is hardware diagnostics software for VENUE systems. Only use DigiTest at the request of a qualified VENUE
technician to diagnose specific hardware problems.

Performing a Soft Reset

If your VENUE system ever needs to be reset, do the following:
To restart the system:
1

Go to the Options > System page.

Hold Default (Alt) and click the Shut Down button.

Resetting the plug-in racks

When this step is completed, the Plug-In Racks are Ready dialog appears alerting you that the plug-in racks are ready to be
re-activated.
Click Use Racks to confirm that you want the racks to be
re-initialized. Status is shown on-screen. After the process is
complete, the console and all plug-ins are operational again.

Reset Mix Engines

Use this option to do a full system reset in one step. Reset Mix
Engines resumes all operations automatically, including the
console, settings, and plug-in racks.

If restarting the system does not correct a problem, you may

have to reset hardware components, identify and remove any
incompatible plug-ins, or reinstall VENUE software using the
System Restore CD.

Additional Reset Options

Additional shortcuts are provided while restarting the system,
which let you do the following:

Audio may be interrupted or may change levels during

this reset procedure.

Chapter 29: Troubleshooting 239

 Back up the current show settings and clear the console. Use
this option if you suspect an auto-saved setting has become
corrupted. This lets you save your most recent settings and
clear the console without having to do a full system restore.
or
Launch into 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).

A dialog appears that lets you choose to backup your

auto-saved settings and clear the console, or to continue and
load settings normally.

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.
In the Options > Devices page, right-click on SC48 and
choose Hardware Monitoring in the pop-up menu. This
opens the Hardware Monitoring window for the selected
device.
If the Hardware Monitoring Alert dialog appears
on-screen, click to select Show Hardware Monitor. 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).
The following is an example of the Hardware Monitoring
Alert:

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.
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.

From Explorer, you can manually find and delete suspect

data files, plug-ins, or perform other file management tasks.

If you are unsure about how to troubleshoot a computer and

its files, it is recommended that you contact VENUE customer service.

Hardware Monitoring Window

VENUE systems provide the Hardware Monitoring window in
which performance of hardware components can be viewed
and monitored.
The Hardware Monitoring window is not available in the
Standalone version of VENUE software.

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VENUE SC48 Guide

Hardware Monitoring Alert

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.

Resetting Hardware Components

(VENUE Profile and D-Show Systems Only)

Some VENUE hardware can be reset from the Options > Devices screen, or by power-cycling the component. It is recommended that you perform a reset if, for example, the Hardware
Monitor Alert dialog appears, or if a connected device stops
communicating with the rest of the system.

Indication
The system software will display error messages alerting you if
a device fails or is no longer available.

The system remembers the last hardware configuration used.

If it doesn't find all units at the next startup, it displays those
units as grayed out in the Options > Devices page. Units remain offline (and the system displays error messages alerting
you to their absence) until either the units are powered up and
come online, or you tell the system to forget the offline units
by right-clicking the missing devices and choosing Forget.

To reset system hardware:

1

Put the system in Config mode.

Go to the Options page and click the Devices tab.

Right-click any displayed hardware components:

Console
Inputs section
ACS sections
Outputs section

Choose Reset.

Resetting a unit in the Options > Devices page

Using the System Restore CD to

Update or Restore the System
One copy of the System Restore CD is included with each system. The System Restore CD provides software installers to
update or restore a system.
Updating or Re-Installing Updating or re-installing system
software lets you replace VENUE software (including new installers for factory-installed plug-ins) but preserve any saved
Shows and Presets. Use this option to update system software
or firmware, or to re-install system software or the installer
for a factory-installed plug-in.

Factory-installed VENUE plug-ins are immediately available

to be reinstalled from the Options > Plug-Ins page. Plug-ins
that cannot be re-installed from the Options > Plug-Ins page
must be reinstalled from their installer discs.
Full System Restore Performing a full system restore completely uninstalls system software before replacing it with new
software. All data folders and files are removed. Be sure to
transfer and archive needed data before performing a system
restore. Factory plug-in installers will be available automatically, as part of the system restore. All other plug-ins must be
re-installed from their installer discs.

A System Restore CD and CDs of any plug-in installers

should be kept with the system at all times.

Chapter 29: Troubleshooting 241

To start, update, or restore a system using the System

Restore CD:
1

Make sure outputs, speakers, and power amps are muted.

Insert the System Restore CD into the VENUE system

CD-ROM drive.

Go to the Options > System page.

Alt-click the Shut Down button.

Click to restart the system, then press and hold F10 on the
keyboard until either of the following occur, depending on
your hardware:

If the system begins to boot off the Restore CD, proceed to

step 4.
If the Restore CD text screen appears, release F10 and use
the Up and Down Arrow keys to select the CD drive, then
press Enter. This launches using the software on the inserted System Restore CD. Continue to step 4.
Some models of USB keyboards require repeated pressing of
F10 (holding it down in between pressings) to register.
6

Do one of the following to update or restore system software:

To update system software while keeping any Show files
and Preset files on the system, press u (lower-case). In
the Update confirmation screen, press Shift+U (upper-case) to proceed. Follow the on-screen instructions
to begin installation.
or
To fully restore the system (completely removing all files
on the system), press r (lower-case). (Or press P to return to the previous screen.) When the Restore confirmation dialog appears, press Shift+R to proceed. Follow
on-screen instructions to complete the system restore operation.

If prompted, select an option in the Ready to Resume dialog

as appropriate (see Resuming Normal Operation on
page 238). Follow any additional instructions on-screen for
plug-ins or authorizations.

Remove the System Restore CD from the CD-ROM drive.

Re-install any plug-ins from their installer discs, as necessary.

Before re-installing plug-ins after updating system software, check if there is a more current version available. If
an updated versions of a plug-in is available, install it from
its installer CD-ROM.

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VENUE SC48 Guide

To cancel without changing any installed software:

Press E to exit from the Welcome to VENUE System Restore
screen. The system resumes starting up using the currently installed version.

If you cancel a full system restore or an update, you may experience installation errors about unavailable space. If this
occurs, repeat the system restore process, making sure to
complete it in one pass.
Updating Firmware

During an update or system restore, the system checks for new

firmware. If newer firmware is found on the System Restore
CD, it is installed while the system starts up.

Reinstalling Plug-Ins After Restoring the

System
The System Restore CD reinstalls all system software and factory-installed plug-in installers only. DigiRack Plug-ins and
any additional plug-ins from Avid or its Development Partners must be re-installed separately. (Factory-installed
plug-ins will be available from the Previous Installs selector to
re-install immediately after a system restore; other plug-ins
must be completely re-installed.)
For instructions on re-installing plug-ins, see Chapter 19,
Plug-Ins.

Part VII: Reference

Chapter 30: Console Reference

This chapter describes the GPI port and its capabilities on the
VENUE SC48 console.

GPI Connector Pin Assignments

GPI (General Purpose Interface)

DB9 GPI Connector Pin Assignments

GPI Input Specifications

The SC48 GPI port is a female DB9 connector that provides

two GPI inputs and two GPI outputs.

Pin Number

Function

Comments

Input 1

Logic level (TTL,

CMOS) input with pullup

Input 2

Logic level (TTL,

CMOS) input with pullup

3, 8

Output 1

Floating contact closure

output

4, 9

Output 2

Floating contact closure

output

5, 6, 7

Ground

All ground pins are connected internally

A 9-pin, female DB9 connector provides a total of 2 General

Purpose Interface (GPI) Inputs and 2 Outputs.
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 TTL logic levels: 0.8V or less
for a logic low. 2.0V or greater for a logic high.
Inputs are compatible with 5V TTL (e.g. 74LS series), 5V
CMOS (e.g. 74HC series), 3.3V CMOS (e.g. 74LVC 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.

Pinout for GPI Connector

5

3 2

Pinout for VENUE SC48 DB9 GPI port (looking at back of console)

Chapter 30: Console Reference 245

GPI Output Specifications

The VENUE SC48 GPI connector provides a total of 2 General
Purpose Interface (GPI) Outputs in addition to its 2 inputs.
Outputs are isolated, floating relay contacts (contact closure).

GPI Wiring Diagrams

The following diagrams provide examples of GPI pinout and
wiring for a few common uses.

Switched voltage is 200V max; 0.5A max.

All diagrams are shown from the rear (solder side) of the DB9
connector.

Switched voltage with respect to safety/chassis ground is

300V max.

GPI Input Examples

VENUE GPI Outputs can switch 500 mA maximum. This

applies even to short term current surges. This limit can be
exceeded when driving 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.

The following diagrams provide simplified wiring examples

for a customer-provided DB9 male connector, to attach to the
female GPI connector on VENUE SC48.
Wiring a Switch to Drive GPI
No ground reference needed
between systems.

DB9M

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
represent 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.

1
6

Wiring a Relay to Drive GPI

DB9M

No ground reference needed

between systems.

1
6

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VENUE SC48 Guide

GPI Output Driving a Logic Input

Wiring a Logic Signal to Drive GPI

Ground reference neede
between systems.

DB9M

DB9M
V+
3
1

Ground reference needed

between systems.

GPI Output Examples

The following diagrams depict wiring examples for a customer-provided DB9 male connector, to connect to the female
GPI connector on VENUE SC48.
GPI Output Driving an Externally Powered LED
GPI Output Driving a Relay Using an External
Power Supply
DB9M
DB9M

3
3

External
Power
Supply

External
Power
Supply

Chapter 30: Console Reference 247

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VENUE SC48 Guide

Chapter 31: FWx

VENUE SC48 includes the VENUE FWx FireWire Record/Playback card. The FWx card lets you integrate a Pro Tools system
with your VENUE system to record and archive live performances, and to integrate pre-recorded Pro Tools tracks with
live inputs.
By combining the recording and playback features of
Pro Tools with your VENUE system via FWx, you can record
multiple tracks of a rehearsal or performance and then play
them back for training, letting you and your staff learn the
system and practice mixing without requiring a band or crew.
You can also connect an Ethernet cable between SC48 and
your Pro Tools computer to enable VENUE Link. VENUE Link
provides Pro Tools and VENUE system integration and interoperability, simplifying and enhancing live recording and
playback tasks.
See the Live Recording Guide for information on using
VENUE Link with your VENUE and Pro Tools systems.

FWx Capabilities and Features

FWx provides the following features:
Direct digital connection (24-bit, 48 kHz) between your
VENUE system and a computer running Pro Tools software over a standard FireWire cable (six-pin to six-pin
1394)
Recording of up to 32 channels of digital audio directly to
Pro Tools (Mac or Windows computers running Pro Tools
10.0 and higher)
Playback of up to 32 channels of Pro Tools audio through
SC48
Support for VENUE Link

FWx Components
The FWx components of your VENUE SC48 package include
the following items:
FWx card and ribbon cable (installed in the SC48 at the
factory)
Pro Tools software
Registration Information card
A FireWire cables (six-pin to six-pin 1394)

FWx FireWire ports on the back panel of SC48

Pro Tools Requirements for FWx

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/compatibility

Installing Pro Tools

After installing the FWx in your system, you can install
Pro Tools on your computer. After installing Pro Tools, download and install the FWx32 Installer Package to update the
FWx driver and firmware.

VENUE SC48 does not support the VENUE HDx or the

VENUE MADI record/playback option cards.

See the Pro Tools Installation Guide for Pro Tools software
installation instructions and information on configuring
your computer for use with Pro Tools.

Chapter 31: FWx 249

Updating FWx Driver and Firmware

Updating FWx drivers and firmware enables your system to
run up to 32 channels of simultaneous I/O between SC48 and
a qualified Pro Tools system via a single FireWire connection.
The FWx32 Installer Package includes a Pro Tools hardware
driver and a firmware updater for FWx. Follow the instructions included with the package to install the FWx driver on
your Pro Tools computer and to update FWx firmware in your
SC48.
Visit our website and follow the links to download the FWx32
Installer Package and installation instructions:
www.avid.com/support/support-contact#venue
Pro Tools 10.0 or higher is required to update FWx drivers
for Pro Tools. The FWx card firmware update is compatible
with lower versions of Pro Tools. However, when connecting FWx to systems running Pro Tools 8.x.x and lower, your
system is limited to 18 channels of simultaneous I/O.

Using Lower Versions of Pro Tools with

FWx
VENUE SC48 comes with a copy of the most recent version of
Pro Tools software and drivers. Use the included version to
guarantee that all hardware drivers for FWx are installed.
If for whatever reason you want or need to use a lower version
of Pro Tools, your exact software installation steps may vary
as follows:
Pro Tools LE 7.1.1-8.x.x No extra installation is required. The
Pro Tools hardware driver for FWx is installed automatically.

Using FWx

Pro Tools System Settings

The connection to the FWx card is reflected in the Pro Tools
Hardware Setup dialog, and FWx inputs and outputs appear in
the Pro Tools I/O Setup dialog and track I/O selectors. This
lets you assign Pro Tools track inputs and outputs to FWx.

Setting the Pro Tools Audio Engine

When connecting a Pro Tools computer to your VENUE system, make sure FWx is set as the current audio engine for
Pro Tools.
To select FWx as your audio engine:
1

In Pro Tools, choose Setup > Playback Engine.

From the Current Engine selector, choose FWx.

Click OK.

When changing engines with a Pro Tools session open, Pro

Tools must close and relaunch to be able to initialize the new
engine.

Signal Routing for FWx Recording

You can assign any mono or stereo channel to FWx channels,
including channel Direct Outputs, Mains, Auxes, mono or stereo Groups, and Matrix outputs. Use the Patchbay > Outputs
page to route output busses or Direct Outputs to FWx channels 132 for recording.
Using Direct Outputs lets you record discrete channels from
the pickoff point you choose.
Using Mains, Aux, Group, or Matrix lets you record a stereo
main mix, one or more stereo submixes, or any combination of
these, up to the number of available FWx channels.

With FWx you can record and archive performances, as well as

integrate pre-recorded Pro Tools tracks with your live inputs.

If you configure the Patchbay for playback as well as recording through FWx, be sure to check Pro Tools track
outputs for any potential feedback loops before record
enabling tracks.

FWx Outputs (Recording) FWx provides up to 32 assignable

outputs for recording into Pro Tools. For information on assigning channels for recording, see Signal Routing for FWx
Recording on page 250.
FWx Inputs (Playback) FWx provides up to 32 assignable in-

puts for playback of Pro Tools tracks through your system. For
information on assigning Pro Tools tracks for playback, see
Signal Routing for FWx Playback on page 252.
See the Live Recording Guide for live recording and playback tips, including instructions using FWx and Pro Tools
to perform Virtual Soundchecks, and for information on enabling and using VENUE Link.

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VENUE SC48 Guide

To route multiple Direct Outputs to Pro Tools for a multitrack

recording:
1

In the Patchbay, click the Directs tab.

Click the tab at the left of the grid for the channel or bus type
you are routing.

Click the Pro Tools tab at the top right of the grid to show the
available FWx channels.

Click in the channel grid to assign a channel or bus (listed on

the left) to FWx channels (listed across the top).

To route the L/R main mix to Pro Tools for a stereo recording:
1

In the Patchbay, go to the Outputs page.

Click the Mains tab to the left of the channel grid.

Click the Pro Tools tab at the top right of the grid to show the
available FWx channels.

Click in the channel grid to route the Main Left and Right
outputs to FWx channels 12.

Routing a Direct Output to an FWx channel

5 Activate and set the level for each Direct Output by clicking
its In button and dragging its on-screen encoder in the Direct
Out section.

Routing the Mains bus to FWx channels for recording

5

Configure Pro Tools for stereo recording.

To use an Output bus to route a submix to Pro Tools:

Activating a Direct Output in the Directs page of the Patchbay

Click the Pickoff column in the Patchbay to specify one of

the following the pickoff sources for each Direct Output:

In the Patchbay, go to the Outputs page.

2 Click the Mains, Aux, Group, or Matrix tab to the left of the
grid to display the type of bus you want to use.

top of channel (indicated by a T)

Pickoff points for output busses in the Outputs tab are always post-fader. Use the Directs tab and select the pickoff
point to record output busses pre-fader.

pre-fader (indicated by a lowercase p)

post-fader (indicated by an uppercase P)
The available Direct Output pickoff points for Input
Channels and FX Returns can configured globally as
pre- or post-fader in the Options > Pickoffs page.

3 Click the Pro Tools hardware tab at the top right of the grid
to show the available FWx channels.

Click in the grid to route busses (listed on the left) to FWx

channels (listed across the top).

VENUE systems do not support using FWx channels for insert processing through Pro Tools.
5

Configure Pro Tools for recording.

Click to display Pickoff menu

Specifying the channel Pickoff source
7

Configure Pro Tools tracks for multitrack recording.

Chapter 31: FWx 251

Signal Routing for FWx Playback

Monitoring FWx Recordings

You can route channels from Pro Tools to VENUE Input Channels and FX Returns. You can use this feature to use prerecorded click tracks or other material in a performance, or mix
down the Pro Tools session using the VENUE system.

To monitor a Pro Tools recording through the VENUE system,

configure Pro Tools signal routing to play back the main stereo mix through two available Input or FX Return channels.
On the VENUE system, leave the Input or FX Return signal
routing unassigned and use Solo to monitor the recording.

Use the Patchbay>Inputs page to route FWx channels 1-32 to

any available Input Channels or FX Returns.

To monitor FWx recordings:

To route FWx channels to Input Channels and FX Returns:

1

1 In Pro Tools, check the output assignment shown for the currently record-enabled tracks, as follows.

If Pro Tools is only being used for recording, make sure

the recording tracks are assigned to an available FWx
channel pair.

In the Patchbay, go to the Inputs page.

2 Click the Channels or FX Returns tab to the left of the grid to

display the type of channels you want to use.

or

Click the Pro Tools tab at the top right of the grid to show the
available FWx channels.

If simultaneously using Pro Tools to record and play back

audio, check output routing to avoid potential feedback
loops. Make sure record-enabled tracks do not share the
same output assignment as any playback tracks. Assign
output of the recording tracks to a discrete pair of FWx
channels.

Click in the grid to route FWx channels to Input or FX Return channels.

In the Patchbay, route the FWx channels to Input Channels

or FX Returns. See To route FWx channels to Input Channels
and FX Returns: on page 252.

Make sure the VENUE channels assigned as FWx record

monitoring channels are not routed to any bus or output, as
follows:

Make sure no Group Bus indicators are lit; press any lit or
flashing indicators to unassign.
If you selected multiple channels, the LEDs will flash to
indicate a mixed state of assignments among all the currently selected channels.
Patching FWx channels to FX Returns for playback
5

Assign routing for each FWx channel as needed:

Assign to the main L/R bus to include FWx audio in the
main mix of a performance.
Assign to a Group, Aux, or Matrix bus for submixing and
monitoring.

You can leave FWx channels unassigned and still monitor

them in the Solo bus and headphones.

Press a flashing indicator LED once to reset all selected to

the same setting (usually, assigned). Press again to toggle
and unassign all selected channels in unison.

Using Synchronization and Time Code

with FWx
The FWx 1394 connection only communicates audio data between a VENUE system and Pro Tools.

To avoid potential feedback loops, make sure no channels

are simultaneously routing to and receiving from any record-enabled Pro Tools tracks.

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VENUE SC48 Guide

If you plan to use Pro Tools as a MIDI Time Code master or

slave, a separate MIDI connection for the Pro Tools host computer is required. Use a USB MIDI interface with Pro Tools,
and connect its ports to the MIDI In/Out ports on the VENUE
system.

Chapter 32: ECx

VENUE SC48 includes ECx Ethernet Control. ECx Option lets

you control a VENUE system remotely over an Ethernet network, using compatible wired or wireless network equipment
(purchased separately).

Installing ECx Host Software

The ECx host software enables your VENUE system to communicate with computers running the remote client software.
To use ECx Ethernet Control, you must do the following:

ECx Capabilities and Features

Install the ECx host software on your VENUE system.

ECx provides the following:

Install the ECx client software on your remote computer.

Remote control of a VENUE system from a client computer, including a laptop or Tablet PC
Exact duplication of VENUE software on the remote client computer
ECx and VENUE Link can be enabled and used simultaneously. See the Live Recording Guide for instructions on enabling VENUE Link.

ECx Components
The ECx components of your VENUE SC48 package include
the following items:
ECx Control (pre-installed in the VENUE SC48))
Ethernet cable for connecting the ECx card to your client
computer, wireless router, or wireless access point device
ECx Ethernet Control Software installer CD-ROM (containing ECx host and client software)

If you need to uninstall the ECx host software from your

VENUE system, see Uninstalling ECx Host Software on
page 254.
If you need to re-install the ECx host software, (after a System
Restore or an Update), see Reinstalling ECx Host Software
on page 254.
After you install the host and client software, see Overview of
ECx Setup and Configuration on page 255 for information on
setting up your VENUE system and client computer for remote
operation using ECx.

Installing ECx Host Software

The ECx Ethernet Control Software installer disc contains the
ECx host software. This software enables your VENUE system
to communicate with computers running the remote client
software.
To install ECx host software on your VENUE system:

System Requirements

Insert the ECx installer disc in the system CD-ROM drive.

Do one of the following to put your system into Config Mode:

The following are required to use ECx with your VENUE SC48:

Press the Console Config switch on the console.

A qualified router or wireless access point (WAP) device

or

A client computer running qualified Windows or Mac OS X

software with wired or wireless Ethernet capability.

Double-click the Mode box in the bottom-right corner of

the screen.

For wireless communication with ECx, 802.11g capable devices (or faster) are recommended.
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 devices, visit:
www.avid.com/compatibility

Go to Options > System page and click Update.

Click Yes to exit VENUE software and begin the installation.

After the installation is complete, the system restarts.

When your perform an Update or a System Restore of your
VENUE system, you must reinstall the ECx host software.
See Reinstalling ECx Host Software on page 254.

Chapter 32: ECx 253

Installing the ECx Client Software

Reinstalling ECx Host Software

The ECx Ethernet Control Software installer CD-ROM contains remote control applications for both Windows and Mac.

If ECx is installed on your VENUE system, you will have to reinstall the ECx host software after performing a System Restore or an Update.

Installing the ECx Client in Windows

System Restore If you perform a complete System Restore, the

To install the ECx Control client application (UltraVNC) in

Windows:

ECx host software must be reinstalled from its original installer disc. See Installing ECx Host Software on page 253.

Insert the ECx installer disc in the computer CD or DVD

drive.

Update If you perform an Update, you must still reinstall the

Open the Windows Client folder.

Double-click the UltraVNC-Viewer.exe file.

Follow the on-screen installation instructions to complete

the installation.

ECx host software. You can reinstall without using the ECx installer disc because an Update leaves the ECx installer on your
VENUE systems hard drive. You can also reinstall using the
original installer disc.

Installing the ECx Client on Mac

To install the ECx Control client application (Chicken of the
VNC) on Mac:

To reinstall after an Update without using the ECx installer disc:

Remove any USB key disks from all USB ports, and make sure
no installer discs are in the CD-ROM drive.

Press the Console Config switch on the console.

Insert the ECx installer disc in the computer CD or DVD

drive.

Open the Mac OS X Client folder.

Double-click the cotvnc-20b4.dmg file.

In the window that opens, drag the Chicken of the VNC

icon to copy it to a location on your hard drive.

Uninstalling ECx Host Software

If you need to uninstall ECx software from your VENUE system, you can do so from the system desktop.
To uninstall ECx host software from your VENUE system:
1

Do one of the following to put your system into Config Mode:

Press the Console Config switch on the console
or
Double-click the Mode box in the bottom-right corner of
the screen.

Go to Options > System.

Hold the Control key and click Shut Down to go to the system
desktop.

Locate and double-click the ECx host software uninstall program (C:\Program Files\D-Show Ethernet Control Software\
Uninstall.bat).

The ECx host software is uninstalled, and the software automatically restarts.
The ECx folder will remain on your VENUE system hard
drive after uninstalling,

254

VENUE SC48 Guide

Do one of the following to put your system into Config Mode:

or
Double-click the Mode box in the bottom-right corner of
the screen.

Go to the Options > Systems page.

Click the Update button.

Overview of ECx Setup and

Configuration
You can control your VENUE system (the host) with a remote computer (the client) using standard VNC (Virtual
Network Computing) protocol over TCP/IP, allowing remote
access to your system via a wired or wireless Ethernet-based
network. This chapter covers the steps for configuring and using ECx.

Windows To connect a Windows computer directly to your

VENUE system, an Ethernet crossover cable is required. Alternatively, you can use an Ethernet hub and connect standard
Ethernet cables between your VENUE system, the hub and the
remote computer.
Mac To connect a Mac computer directly to your VENUE system, you can use either a standard Ethernet cable or an Ethernet crossover cable.

Configure the VENUE system and the client computer IP addresses manually. See Setting VENUE and Client IP Addresses
Manually on page 256.

For a wired network, the steps include:

Connecting the remote computer directly to your VENUE
system using an Ethernet cable.
Setting the IP addresses of your VENUE system and your client computer manually.

Enabling remote operation of your VENUE system.

For a wireless network, the steps include:

Connecting a wireless router or a wireless access point
(WAP) device to your VENUE system.
Setting the IP addresses of your VENUE system and your client computer manually or automatically.
Establishing a connection between your wireless router and
the client computer.

Enabling remote operation of your VENUE system.

ECx and VENUE Link

ECx and VENUE Link can be used simultaneously with one

computer running both the ECx client and Pro Tools, or from
two computersone running the ECx client and another running Pro Tools. When using two computers, a router is required. Wired or wireless ECx connections are supported. Follow the procedure outlined in Connecting a Wireless Router
or WAP to VENUE on page 255.

Connecting a Wireless Router or WAP

to VENUE
VENUE systems work with standard wireless routers or WAP
devices.
Before connecting a wireless router or WAP device, you
should configure the SSID of the device so that its wireless
network can be easily identified on the client computer. You
can specify any unique network name for the device, such as
VENUE Network.
To configure the SSID and any network security features of
your wireless router or WAP, refer to the manufacturers instructions.
To connect a wireless router or WAP device to your VENUE
system:
1 Connect one end of the appropriate type of Ethernet cable to
the ECx port and the other end to the Ethernet connector port
on the router or WAP. Do one of the following depending on
the type of device you are using

If you are using a wireless router, use a standard Ethernet

cable to connect your VENUE system.
or

Connecting a Computer Directly to

VENUE
If you are establishing a fixed remote control station and do
not need a mobile connection, you can connect the remote
computer directly to your VENUE system using an Ethernet
cable.
To connect a computer directly to your VENUE system:

Connect one end of the appropriate Ethernet cable type

(with RJ-45 connectors) to the ECx port on your VENUE system, and the other end to the Ethernet port on the computer.
The type of cable depends on the operating system of the remote computer:

If you are using a WAP, use an Ethernet crossover cable to

connect to your VENUE system.
2

Do one of the following:

If you are using a wireless router or WAP device that does
not include a DHCP server function (such as the Cisco Aironet 1230AG), you must configure your VENUE system
and the client computer IP addresses manually. See Setting VENUE and Client IP Addresses Manually on
page 256.
or
If you are using a wireless router that includes a DHCP
server function (such as the Belkin Pre-N), you can configure your VENUE system and the client computer to set
the IP addresses automatically. See Setting VENUE and
Client IP Addresses Automatically on page 258.

Chapter 32: ECx 255

Setting VENUE and Client IP

Addresses

Select Use the Following Address and enter the following:

IP address: 10.0.0.1
Subnet Mask: 255.255.255.0

You can set the IP addresses of your VENUE system and client
computer manually or automatically. Do one of the following
depending on the configuration of your network:

Default Gateway: 10.0.0.1

If you are connecting a computer directly to your VENUE

system, or you are using a wireless router or WAP device that
does not include a DHCP server function, see Setting VENUE
and Client IP Addresses Manually on page 256.

or
If you are using a wireless router that includes a DHCP
server function, see Setting VENUE and Client IP Addresses
Automatically on page 258.

Setting an IP address manually

4

Click Apply.

Select Enable Remote Control to activate the VENUE ECx

host.

IP configuration changes on your VENUE system and client

computer can take up to 2 minutes to become effective. After making changes, be sure to allow sufficient time for the
system to assign IP addresses and establish communication
between all the components.
If network communication is not established after allowing
sufficient time for IP addressing, then you can verify that
you are using the correct cable types, have correctly connected the system, and have working cables.

Setting VENUE and Client IP Addresses

Manually
Set VENUE and client computer IP addresses manually if you
are connecting a computer directly to your VENUE system, or
you are using a wireless router or WAP device that does not include a DHCP server function.
Setting a VENUE System IP Address Manually
To manually set the IP address for your VENUE system:

In the VENUE software, go to the Options page and click the

Interaction tab.

Under Ethernet Control, click Network Settings.

Ethernet Control section of the Interaction page

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VENUE SC48 Guide

6 Go to Setting the Client Computer IP Address Manually on

page 256.

Setting the Client Computer IP Address Manually

After manually setting your VENUE systems IP address, you

need to set your client computers IP address.
To manually set the IP address in Windows:
1

Go to Control Panels > Network Connections.

In the Network Connections window, do one of the following:

If you are connecting the computer directly to your

VENUE system, right-click the Local Area Connection
icon and choose Properties.
or
If you are connecting using a wireless router or WAP,
right-click the Wireless Network Connection icon and
choose Properties.

In the Connection Properties window, double-click Internet

Protocol (TCP/IP).

Do one of the following depending on the configuration of

your network:

If you are using a wireless network, go to Establishing a

Wireless Connection on page 259.
or
If you are using a wired network, go to Enabling Remote
Operation on page 260.
To manually set the IP address on a Mac:
1

Launch System Preferences > Network.

Do one of the following:

If you are connecting the computer directly to your
VENUE system, choose Ethernet from the network connections services list.
or
If you are connecting using a wireless router or WAP,
choose Airport from the network connections services
list.

Local Area Connection Properties window

Choose Manually from the Configure menu.

Enter the following:

In the Internet Protocol Properties window, select Use the

following IP Address and enter the following:

IP address: 10.0.0.2
Subnet Mask: 255.255.255.0

IP address: 10.0.0.2

Router: (none required)

Subnet Mask: 255.255.255.0

Default Gateway: (none required)

Network Preferences window

5

Click Apply.

Do one of the following depending on the configuration of

your network:

Internet Protocol Properties window

5

Click OK to close the Internet Protocol properties window.

Click OK to close the Network Connection Properties window.

6

If you are using a wireless network, go to Establishing a

Wireless Connection on page 259.
or
If you are using a wired network, go to Enabling Remote
Operation on page 260.

Chapter 32: ECx 257

Setting VENUE and Client IP Addresses

Automatically

Setting a Client Computer IP Address

Automatically

You can configure your VENUE System and client computer to

set their IP addresses automatically using DHCP. Set the IP
automatically if you are using a wireless router that includes a
DHCP server function.

After setting the IP address for your VENUE system using

DHCP, you need to do the same for your client computer.

Setting the VENUE IP Address Automatically

To automatically set the IP address in Windows:

1

Go to Control Panel > Network Connections.

To set the IP address of your VENUE system automatically:

Right-click the Wireless Network Connection icon and

choose Properties.

In the VENUE software, go to the Options page and click the

Interaction tab.

Protocol (TCP/IP).

In the Connection Properties window, double-click Internet

Under Ethernet Control, click Network Settings.

Ethernet Control section of the Interaction page

3

Select Obtain Address Automatically.

Configuring Ethernet Control in VENUE

4

Click Apply.

Wait until the VENUE System is assigned an IP address. This

may take time (up to two minutes). If no DHCP server is found,
the VENUE system will self-assign an IP address.
5

Connection Properties window

In the Internet Protocol Properties window, select Obtain

an Address Automatically.

Make a note of the IP address assigned to your VENUE system, as you will need to enter it into the client software .

Select Enable Remote Control to activate the VENUE System

ECx host. Your systems status will be displayed as Waiting for
connection.

Go to Setting a Client Computer IP Address Automatically

on page 258.

Internet Protocol (TCP/IP) Properties window

5

258

VENUE SC48 Guide

Click OK to close the Internet Protocol properties window.

6 Click OK to close the Network Connection Properties window.

7

In the Connection Properties window, click the Wireless

Networks tab.

Go to Enabling Remote Operation on page 260.

To automatically set the IP address on a Mac:

1

Launch System Preferences > Network.

Choose Airport from the network connections services list.

Click the Advanced button, then click the TCP/IP tab.

Choose Using DHCP from the Configure IPv4 menu.

Configuring a wireless connection in Windows

Under Preferred Networks, click Add, and type the SSID of

the wireless router or WAP device connected to your VENUE
system.

Choose the Network Authentication and Data Encryption

settings to match the corresponding router or WAP configuration settings.

Airport Network Advanced window

5

Click OK.

Go to Enabling Remote Operation on page 260.

Establishing a Wireless Connection

Once IP addresses are set, you can establish a connection from
the client computer to the wireless network.
To establish a wireless connection in Windows:
1

Go to Control Panel > Network Connections.

Right-click the Wireless Network Connection icon and

choose Properties.

Entering an SSID and choosing settings in Windows

6 Click OK. The VENUE SSID should appear in the list of available wireless networks.
7

Go to Enabling Remote Operation on page 260.

Chapter 32: ECx 259

To establish a wireless connection on Mac:

1

Go to System Preferences > Network.

Choose Airport from the network connections services list.

From the Network Name pop-up menu, choose your network.

Enabling Remote Operation

In order to enable remote operation of your VENUE system,
you need to have obtained valid IP addresses for your VENUE
system and your client computer. If you are using a wireless
network, you also need to have established a network between
the wireless router or WAP device that is connected to your
VENUE system and your client computer.
To enable remote operation with a Windows client computer:

Double-click the ECx Ethernet Control (UltraVNC Viewer)

icon on your desktop (or go to Start Menu > Programs > UltraVNC > Run UltraVNC Viewer) to launch the UltraVNC Viewer
application.

Enter the IP address of the ECx host (your VENUE system).

Click Connect.

Enter the password when prompted (the default VENUE

password is password) and click Connect.

Configuring a wireless connection on the Mac

If your network does not appear in the Network Name

pop-up menu, choose Join Other Network, type in the name
of your network, and click Join. To assign your wireless
router or WAP device a network name, see your devices
documentation.
4

Go to Enabling Remote Operation on page 260.

UltraVNC Viewer window

The client launches and displays the VENUE system screen.

You can then view and operate all on-screen controls from the
client computer.

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VENUE SC48 Guide

To enable remote operation with a Mac client computer:

1 Double-click the Chicken of the VNC icon to launch the application.
2

Enter the IP address of the ECx host (your VENUE system).

Enter the password (VENUEs default password is password) and click Connect.

Chicken of the VNC window

The client launches and displays the VENUE system screen.

You can then view and operate all on-screen controls from the
client computer.

Disconnecting ECx
To disconnect ECx:

Close the ECx client application by doing one of the following:

In Windows, move the pointer to the top of the screen until the control strip appears, and click the close box.
or
On Mac, press Command+Q to quit.
On the VENUE system, deselect Enable in the Ethernet Control section of the Options > Interaction page.

Changing the Ethernet Control

Password
You can change the password that users need to enter in order
to control your VENUE system from a remote client.
By default, the VENUE Ethernet Control password is
password (all lowercase).
To change the Ethernet Control password:

In the Ethernet Control section of the Options > Interaction

page, double-click the Password field.

Enter a new password and press Enter.

Make a note of the new password and your systems IP address, as you will need to enter it into the client software .

Chapter 32: ECx 261

262

VENUE SC48 Guide

Appendix A: Compliance Information

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
recycling of waste electrical and electronic equipment. The separate collection
and recycling 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
This product contains chemicals, including lead, known
to the State of California to cause cancer and birth defects
or other reproductive harm. Wash hands after handling.

FCC Compliance for United States

Radio and Television Interference
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 residential installation. This equipment generates, uses,
and can radiate radio frequency 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 equipment 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.

Australian Compliance

Perchlorate Notice
This product may contain a lithium coin battery. The State of California requires
the following disclosure statement: Perchlorate Material special handling may
apply, See www.dtsc.ca.gov/hazardouswaste/perchlorate.

Recycling Notice

Canadian Compliance
This Class B digital apparatus meets all requirements of the Canadian
Interference-Causing Equipment Regulations.
Cet appareil numrique de la classe B respecte toutes les exigences du
Rglement sur le material brouilleur du Canada.

CE Compliance

EMC (Electromagnetic Compliance)

Avid declares that this product complies with the following standards regulating
emissions and immunity:
FCC Part 15 Class B
EN 55103-1 E2, E3
EN 55103-2 E2, E3
AS/NZS CISPR 22 Class B
CISPR 22 Class B

(EMC and Safety)

Avid is authorized to apply the CE (Conformit Europnne) mark on this

compliant equipment thereby declaring conformity to EMC Directive
2004/108/EC and Low Voltage Directive 2006/95/EC.

Korean EMC Regulations

263

Safety Compliance
Safety Statement
This equipment has been tested to comply with USA and Canadian safety
certification in accordance with the specifications of UL Standards: UL60065 7th
/IEC 60065 7th and Canadian CAN/CSA C22.2 60065:03. Avid Inc., has been
authorized to apply the appropriate UL & CUL mark on its compliant equipment.

Warning

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 damaged, 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.

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
manufacturers instructions.
8) Do not install near any heat sources such as radiators, heat registers, stoves,
or other equipment (including amplifiers) that produce heat.
9) 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.
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.

264

VENUE SC48 Guide

16) For products containing a lithium battery:

CAUTION! Danger of explosion if battery is incorrectly replaced. Replace only
with the same or equivalent type.
17) 17) For products with a power switch:
The main power switch is located on the back panel panel of the SC48. It should
remain accessible after installation.
18) The equipment shall be used at a maximum ambient temperature of 40 C.

Index

Numerics
0 dBVU 165
2-Track 58
48V 73

A
A Unit has gone Offline 241
Absolute (editing snapshots) 190
ACS
Flex Channel 74
target and channel Select switch 22
targeting options 59
ACS (Assignable Channel Section) 24
Actions 203
creating 207
list 214
Add (or Update) this plug-in to Snapshot 164
AFL 117
All (snapshots) 179
AND (Event List) 206
assembling the mount 7
Assignable Channel Section (ACS) 24
attack
compressor/limiter 134
expander/gate 135
automation 184
and Channel Safe 185
see Snapshots
Automation Safe 60
auto-save and History 176
Aux
banking 38
configuring busses and Groups 78
display in Input LCD 22
level and pan via Flip to Faders 96
Aux Sends
snapshot as monitor, or as effects sends 199
Auxes Follow AFL
AFL
and Aux banking 118

B
backup
and History 176
CD-ROM 241
Balance 65
balance (when pasting) 41
ballistics for meters 60, 116
bandwidth
EQ 142
Bank AD 35
Bank Safe 36
banking 35, 38
Group Spill 88
outputs 38

banner display 29
bell or shelf EQ 142
Blank Strip 42
blue (snapshot) 181
built-in
compressor 133
expander 133
gate 133
limiter 133
bus assignment indicators 21
bus processors
assigning plug-ins 160
busses
linked Matrixstereo
linked matrix 100
Busses page 55
bypass
EQ in out 141
bypassing plug-ins 158

C
C/M
LED 21
Cancel 27
CD-ROM
using for Transfer and Filing 223
Center Last Recalled Snapshot 181
Change Target By 59
channel
reset shortcut 41
Channel Name 22, 60
channel number (plug-in rack routing) 158
CHANNEL SAFE 186
Channel Safe 185
channels
banking 35
configuring number of 54
copy and paste 41
in the Patchbay 107
moving 42, 66
selecting 38
type text search 39
Chase MTC 181
Clear 178
Clear Console
during reset 239
clip
Hidden Bank Clip 20
Hidden Bank LED 113
Hold 116
Margin 116
clock
system date and time 58
clock (tempo) 59
clock (word) 14
colors in rack slots 157
Index 265

comp knee
compressor/limiter 134
compatibility 4, 249, 253
compressor
side-chain 139
compressor/limiter
adjusting 136
attack 134
comp knee 134
defaults 134
Dynamics Graph 137
gain reduction meters 134
make-up gain 134
ratio 134
release 134
threshold 134
Config Mode 30
and plug-ins 151
Console Config 30
Console Mode (Config versus Show) 30
contact closure 246
Control Surface Change 237
controls
input and FX return channels 20
copy and paste
channel settings 41
dynamics settings 138
EQ settings 147
copying
plug-ins 159
Create new snapshot containing this plug-in 164
crossfade time (snapshots) 198
crossfades
bypassing 198
Cue on Mains Fader
Monitor
on Mains fader 122
cursor 59

D
Date & Time Check 237
date and time 58
dBVU, dBu, dBFS 165
Default 31
defaults
compressor/limiter 134
delay
compensation 83
input channel built-in 73
mains (house) 82
Monitor Bus 55
Monitor bus 122
delay (Event List Wait) 208
Delay Compensation 56
Delete (snapshots) 178
Devices page 61
Digital/Analog EQ 142
DigiTest 239
Dim
Talkback dim 58
Direct Outs
from output busses 83
routing to plug-ins 161
Disable
snapshots 178
266

Book Title

divergence 56, 82
Dly (channel Delay in snapshots) 200
DSP
plug-in allocation tips 54
plug-ins 165
Duplicate 178
Dyn Pre-EQ 138, 142
dynamics
adjusting 136
and plug-ins 137
built-in 70
comp/lim 134
Dynamics Graph 137
presets for built-in 139
reset 137
settings and presets 138
side-chain 139

E
ECx 16, 253
installing software 253
Edit (System Config) 53
Edit mode 190
EQ
adjusting 143
and plug-ins 147
bell or shelf 142
built-in HPF 141
built-in parametric 141
bypass via Input Direct mode 138, 142
digital/analog 142
Dyn Pre-EQ 138, 142
GEQ 80
in out 141
parametric 141
ranges of controls 149
settings and presets 147
ethernet (see ECx) 253
Events
actions 203
and Preview mode 194
and Snapshot modes 209
and snapshots 209
behavior 208
creating actions 207
creating triggers 206
creating, selecting, managing 204
enabling and disabling 205
Event List 202
list of action types and properties 214
list of trigger types and properties 213
reset 209
terminology 201
testing 208
triggers 203
Wait 208
window 202
expander
side-chain 139
Expander/Gate
threshold 135

expander/gate
adjusting 136
attack 135
gain reduction meters 135
gate range 135
release 135
Expert Mode 91

F
faders
and Group Spill 88
Flip for Send level and pan 96
reset shortcut 41
feedback 209, 252
Filing
History 176
loading Shows 172
Presets and Scope Sets 173
Show files 172
Show Folders 171
filtering with Recall Safe 184
Fine 32
momentary or latching 32
firmware 242
Flex Channel 74
Flip
Send level and pan 96
Footswitch Status (Events) 203
formats (plug-ins) 159
Function switches 129
Function switches (F1, F2, F3, F4) 27
FWx 249
signal routing for playback 252
signal routing for recording 250
synchronization and time code 252
FX Returns
and plug-ins 160
banking 35
channel controls 20
configuring 54

G
gain
and multiple input routing 109
Guess 22
setting 22
gate
key source 139
range for expander/gate 135
side-chain 139
General Purpose Interface (see GPI)
global modifiers 31
GPI
Input pinouts 245
input specifications 245
output specifications 246
pulse and duration 208
Status display (Events) 203
wiring diagrams 246
Graphic EQs 80
configuring 54, 146
green (snapshot) 181
ground (GPI outputs) 246

Groups
and Variable Groups 78
banking 38
using 87
Guess (gain) 22

H
hard knee 134
hardware
display of unavailable 106
hardware inserts 3
headphones
level 121
hexadecimal 195
Hidden Bank Clip 113
hidden bank clip 20
high-pass filter 141
History 176
house (Mains)
mute 127
HPF 22, 73

I
I/O
unavailable 106
iLok 153
USB ports 155
In/Out
EQ 141
Input Channels 65
Input Direct mode 75, 138, 142
Input Gain 22
Input Pan 22
Input Safe Switches
changing modes via an Event 210
inputs
20 dB pad 73
and Flex Channel 74
assigning Patchbay routing 67
assigning to VCAs 69
automation safe 187
built-in dynamics 70
built-in EQ 70
channel controls 20
connecting digital 14
faders 74
HPF 73
Input Channels and FX Returns 65
input channels and FX returns 20
Input Direct mode 75, 138, 142
make stereo 65
mute 74
naming 66
pan 72
phantom power 73
polarity (phase) 73
routing to Auxes 68
routing to Mains and Groups 67
Safe 73
solo 74
using inserts 71
width 72
Insert Blank Strip 42
Insert Mode 162
insert number (plug-in rack routing) 158
Index 267

inserts
assigning plug-ins 160
hardware 3
on outputs 80
Installed Plug-Ins 151
Interaction page 59
invert output phase 81

J
jump (see crossfade bypass)

K
key assign 139
key listen 140
key source 139
knee
hard or soft 134
knobs
rotary and switch functionality 21

L
Latch (Event action behavior) 208
LCDs
options 60
LCR 54
level
Flex Channel 74
levels
plug-ins 165
limiter
adjusting 136
defaults 134
side-chain 139
linked Matrixes 100
linking
screen and console 29, 59
Lock (System Lock) 30
locking snapshots 188
logic (GPI) 245
LR
LED 21

M
Main 54
Main busses
configuring 54
Mains 122
input routing 67
linking 82
maintenance
system restore 241
Make Stereo 65
and Blank Strips 42
Make Stereo/Mono
shortcut 42
make-up gain
compressor/limiter 134
Matrix
banking 38
linked stereo 100
linking and unlinking inputs 101
Matrix and PQ Sources 100

268

Book Title

metering 113
ACS 114
ballistics and options 116
channel meters 113
Hidden Bank Clip 113
output meter settings 115
outputs 115
Selected Channel 114
solo 115
MIDI
adding to snapshots 195
and Recall Safe 184
in Preview mode 194
output Safe 196
MIDI Snapshot Output Safe 220
Misc page 58
Mix (Recall Safe parameters) 186
Mix Engines 54
modes (Config versus Show) 30
Mon (Aux sends and Variable Groups) 199
Monitor
assignable output 120
Bus Delay 55
Delay 122
level 121
monitor mixing 109
More Options (during resume) 239
mouse settings 59
move input channels
Move Selected Strip Here right-click command 42
using drag and drop 66
moving plug-ins 159
MTC
chase 181
configuring options 57
Events and Preview mode 194
in Preview mode 194
Multi 31
Multi-Assign 39
Multi-Select 31
Mute
channels, Mute Groups and VCAs 129
Groups 127
input channels 74
Mains (house) 127
outputs 81, 127

N
name (channel display) 22
naming channels 66
navigating 35
near-field levels 121
New 178
next (snapshot) 180
None (snapshots) 179
Notes (snapshots) 182

O
offset
Right Offset 72
On (Recall Safe) 184
One or More Units have Failed 236
operating modes 30

Options 53
Busses 55
Devices 61
Interaction 59
Misc 58
Pickoffs 56
Plug-Ins 151
Snapshots 57
System (configuration) 53
viewing angle 60
OR (Event List) 206
oscillator
settings 58
Other 159
Output encoders
and plug-ins 162
outputs
and mute 127
automation safe 187
banking 38
configuring 77
delay 82
divergence 56, 82
graphic EQ 80
metering 115
mute 81
reassigning in Patchbay 110
routing 79
using inserts 80

P
pad 73
padlock (snapshots) 188
Pan 72
see also Width 72
pan
divergence 56, 82
when pasting 41
panning
3-across-the-front 54
parameters 104
parametric EQ 141
Patchbay
displays and indicators 106
navigating 107
overview 105
route multiple via click and drag 108
source and destination display 107
warning when reassigning 110
Patching Grid 106
Peak Hold 116
Peak mode (metering) 116
PFL 117
phantom power 73
phase (output) 81
pickoffs
Matrix and PQ 100
Pickoffs page 56
playing back Pro Tools tracks 252
Plug-In Racks are Ready 239
Plug-In Racks Need Reset 239

plug-ins 16, 151

allocating DSP 54
and channel Direct Outs 161
and Recall Safe 184
and snapshots 164
and standalone software 221
assigning to rack slots 159
Config and Show mode 151
display options 162
display unavailable and inactive 157
enabling and disabling 154
EQ 147
in Preview mode 194
in/out (bypass) 158
Insert Mode views 162
list and menu management 154
managing 152
mono, stereo, other 159
moving and copying 159
on outputs 80
on the control surface 162
on-screen 163
pinning a view 163
preset files 164
rack slots 157, 158
racks 156
re-initializing the racks 239
routing to and from 160
snapshot indication (red) 158
Source switch 162
targeting 162
Use Racks 239
views 156
Plug-ins to Install 151
polarity (input) 73
polarity (output) 81
power
connecting an uninterruptable power supply 4
start up/shut down guidelines 15
Power Supply Alert 237
PQ
banking 38
linking and unlinking inputs 101
Pre (snapshot parameters) 199
presets
dynamics 138
EQ 147
folders 173
for built-in dynamics 139
managing 174
plug-ins 164
Scope Sets 186
transferring 175
Preview mode 191
and plug-ins 194
and Undo 192
capabilities and overview 192
MIDI and MTC 194
previous (snapshot) 180
Pro Tools
monitoring recording 252
Pro Tools audio engine 250
signal routing for playback 252
signal routing for recording 250
Propagate mode 190
Index 269

Pulse and Duration (GPI) 208

Push-Pin (plug-in view) 163

Q
Q 142
Quit 15

R
rack slots 156
racks 239
racks (plug-ins) 156
ratio
compressor/limiter 134
Ready to Resume 238
Recall 178, 183
Next 180
Previous 180
Safe 184
Recall Safe 184
and MIDI 184
and plug-ins 184
and Preview mode 193
CHANNEL SAFE 186
Matrix and PQ 186
turning on and off 184
using 185
recording
montioring recordings through SC48 252
signal routing for recording 250
time code and synchronization 252
recovery 239
red (snapshot) 181
red plug-in rack 158
registration 4
Relative (editing snapshots) 190
release
compressor/limiter 134
expander/gate 135
remote control (ECx) 253
Remove this plug-in in Snapshot 164
Reset 239
reset 238
dynamics 137
Reset (strip) 41
reset a section or parameter 31
Reset Fader 41
Reset Mix Engines 239
resolution (see Fine)
restart 238
restore (software) 241
Resume Operations 238
right-click shortcuts 41
RMS mode 116
rotary encoders
rotary and switch functionality 21
routing
channel bus indicators 21
in the Patchbay 108
Monitor bus 120
multiple channels to a hardware output 109

270

Book Title

S
Safe
Automation 60
Recall Safe 184
Solo 60
using channel automation safe 187
Safe All 187
Safe Selected 187
save (History auto-save) 176
Scope Sets
transferring 175
using 186
security (System Lock) 30
Select
channel switch 22
Selected Chan
options 59
selected channel
Flex Channel 74
selecting channels 38
settings
dynamics 138
EQ 147
plug-ins 164
shelf or bell EQ 142
shortcuts 31
right-click 41
Snapshots 181
Show files 171
creating 171
deleting 171
Folders 171
loading 172
transferring 175
Show Folder 171
Show Mode 30
Shows
and plug-in management while loading 154
shut down 15
side-chain 139
assigning for plug-ins 161
assigning source (gate only) 139
signal routing
display in Patchbay 107
inputs 67
Simple Mode 91
SIP 117
Snapshots
adding MIDI messages 195
adding plug-in data 196
All 179
Center Last Recalled in list 181
Channel Safe 186
channel scope 178
chase MTC 181
classifying Auxes and Var Groups 199
Clear 178
color indication in List 181
creating 182
crossfade time 198
data type buttons 178
Delete 178
Disable 178
Duplicate 178
Edit mode 190

Events and Preview mode 194

faders 179
from the console 180
in Preview mode 192
keyboard shortcuts 181
List 178
list of data types and parameters 186, 200
locking and unlocking 188
managing (storing, clearing, deleting, moving, duplicating)
188
MIDI and plug-ins in Preview mode 192
naming and renaming 182
New 178
Next 180
None 179
notes 182
overview 177
plug-in menu 164
plug-in scope indication 158
Preview (editing and previewing snapshots) 191
Previous 180
Propagate mode (updating snapshot parameters) 190
Recall 178
Recall Safe 184
recalling 183
safe filter (Recall Safe) 185
Scope Sets 186
selecting 181
Store 178
target 183
type text search 39
x-Fade 198
snapshots
and Channel Safe 185
Snapshots containing this plug-in 164
Snapshots page 57
soft knee 134
software 16
overview of pages and tabs 33
standalone 221
system restore 241
updating 241
Solo
AFL, PFL, SIP modes 117
and key listen 140
input channels 74
metering 115
on-screen settings 56
solo
Cue on Mains Fader 122
Solo Safe 60
Source 22, 162
spill
Groups
spill 88
spill (VCAs) 85, 88
Stage 48
connecting 9
front panel 9
power connection 10
standalone software 221
and plug-ins 221
export System Info 110
installing and removing 221
system requirements 221

stereo
spread (Bal/Width) 65
stereo channels (see Make Stereo) 65
stereo plug-ins 159
Store 178
sync
plug-in tempo 59
synchronizing digital sources 14
System 53
system clock 58
System Config 53
System Lock 30
system requirements 4, 249, 253
System Update and Restore CD 241

T
takeover from backup mode 238
Talkback
dim level 58
Tap Tempo 215
tap tempo 59
target
channel Select switch 22
channels 38
plug-in 162
Targeting Changes View Mode 59
tempo
adding to snapshots 196
threshold
compressor/limiter 134
Expander/Gate 135
time of day 58
Tool Tips 29
Trackball
settings for 59
transfer 175
Triggers 203
creating 206
list 213
troubleshooting
plug-ins 154
restore and replace all software 241
Type Text search 39

U
Undo
in Preview mode 192
via History 176
Update this plug-in in Snapshot 164
updating system software 241
UPS (uninterruptable power supply) 4
USB
ports for iLoks 155
Use Racks 239

Index 271

V
Variable Groups
level and pan via Flip to Faders 96
snapshot as monitor, or as effects sends 199
VCA
spill 85, 88
VCAs
and snapshots 200
assigning 84
banking 38
mute 127
using 85
VENUE
Standalone software 221
VGA monitor 7
Video Monitor Mount 7
voltage 4

W
Wait (Event List) 208
While Active (Event action behavior) 208
Width 72
width (when pasting) 41
wireless (ECx) 253
word clock 14

X
X-fade (crossfade) 198
XOR (Event List) 206

Y
yellow (snapshot) 181

Z
zero
see Clear Console

272

Book Title

Avid

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