VENUE Profile Guide

and VENUE Software 2.9

9322-62809-00 REV A 08/10

Legal Notices
This guide is copyrighted ©2010 by Avid Technology, Inc., (hereafter “Avid”), with
all rights reserved. Under copyright laws, this guide may not be duplicated in
whole or in part without the written consent of Avid.

003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 882|20 I/O,
1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite, Avid, Avid DNA, Avid Mojo,
Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, Axiom, Beat Detective,
Bomb Factory, Bruno, C|24, Command|8, Control|24, D-Command, D-Control,
D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase, DigiDelivery,
Intelligent Noise Reduction, TDM Bus, DigiDrive, DigiRack, DigiTest,
DigiTranslator, DINR, DV Toolkit, EditPack, Eleven, HD Core, HD Process, Hybrid,
Impact, Interplay, LoFi, M-Audio, MachineControl, Maxim, Mbox,
MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF, OMF Interchange, PRE,
ProControl, Pro Tools M-Powered, Pro Tools, Pro Tools|HD, Pro Tools LE,
QuickPunch, Recti-Fi, Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius,
Smack!, SoundReplacer, Sound Designer II, Strike, Structure, SYNC HD,
SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase,
TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities,
Transfuser, Trillium Lane Labs, Vari-Fi Velvet, X-Form, and XMON are trademarks
or registered trademarks of Avid Technology, Inc. Xpand! is Registered in the U.S.
Patent and Trademark Office. All other trademarks are the property of their
respective owners.

Product features, specifications, system requirements, and availability are

subject to change without notice.

Guide Part Number 9322-62809-00 REV A 08/10

Documentation Feedback
At Avid, we are always looking for ways to improve our documentation. If you have
comments, corrections, or suggestions regarding our documentation, email us
at [email protected].
Contents

Part I Overview and Installation

Chapter 1. Introduction to VENUE Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

VENUE Profile Systems and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
System Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
VENUE Profile Expansion Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Operational Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Connection Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Chapter 2. Configuring and Connecting Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Unpacking and Assembling VENUE Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Assembling the Video Monitor Mount and Trackball Mount . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Connections for VENUE Mix Rack Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Connections for VENUE Profile Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Profile Console Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Powering Up the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Powering Down the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Setting the System Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Enabling a Second Stage Rack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Digital Inputs and Sample Rate Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Part II System Description

Chapter 3. VENUE Profile Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

VENUE Profile Top Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Input Channels and Faders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Assignable Channel Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Output Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Master and Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Contents iii
 Chapter 4. Basic Commands and Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Control Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Config Mode and Show Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
System Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Global Modifier Switches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Software Screen Pages and Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Chapter 5. Navigating and Selecting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Banking Input Channels and FX Returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Banking the Output Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Selecting and Targeting Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Targeting Plug-In Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Screen Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Screen Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Input Channel Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Chapter 6. Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Other Options and Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Part III Signal Routing

Chapter 7. Inputs and Input Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Configuring Inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Assigning Input Sources to Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Routing Input Channels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Using Built-In Dynamics and EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Using Inserts on Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Adjusting Input Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Using Input Direct. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Chapter 8. Outputs and Output Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Configuring Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Assigning Busses to Hardware Outputs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Routing Group Outputs to the Mains Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Using Inserts on Output Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Adjusting Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Adjusting Main Bus Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Direct Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Personal Q Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Assigning and Using VCAs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

iv VENUE Profile Guide

Chapter 9. Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Configuring Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Routing Inputs to Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Routing Group Outputs to the Main Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Managing Group Bus Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Group Bus Signal Flow Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Adjusting Group Bus Output Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Simple and Expert Operational Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Chapter 10. Aux Sends and Variable Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Configuring Aux and Variable Group Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Routing Inputs to Aux Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Routing Aux Busses to Outputs and Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Adjusting Aux Send Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Managing Aux Bus Assignments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Chapter 11. Matrix and Personal Q Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Matrix Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Personal Q Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Configuring Matrix and PQ Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Adjusting Matrix and PQ Mixer Input Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Adjusting Matrix and PQ Mixer Output Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Snapshot Data and Parameters for Matrix Mixers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Working with a PQ Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Chapter 12. Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Accessing the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Overview of the Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Navigating the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Assigning Channels in the Patchbay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Warning when Stealing Inputs or Outputs in the Patchbay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
VENUE System Information Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Patch List Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Chapter 13. Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Channel Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
ACS Input and Dynamics Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Metering Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Metering Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Contents v
 Chapter 14. Solo and Monitor Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Solo Bus Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Selecting a Solo Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
Solo Operation Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Solo Bus Operation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Solo Safing Channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Monitor Bus Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Talkback, 2-Track and Oscillator Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Routing the Oscillator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Chapter 15. Muting and Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Muting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Mute Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Function Switches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Part IV Processing

Chapter 16. Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Built-In Compressor/Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Built-In Expander/Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Adjusting Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Channel Modes Affecting Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Dynamics Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Side-Chain Keys and Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Chapter 17. EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Built-In EQ Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Adjusting EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
Channel Modes Affecting EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Graphic EQ for Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
EQ Settings and Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Chapter 18. Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Installing and Authorizing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
Managing Plug-Ins on the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153
Overview of Working with Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155
Plug-In Racks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
Assigning and Routing Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Adjusting Plug-Ins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Plug-In Presets and Snapshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Plug-In DSP Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Plug-In Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Plug-In Latency and Processing Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Chapter 19. Hardware Inserts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

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

vi VENUE Profile Guide

Part V Shows

Chapter 20. 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 21. Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Snapshots Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Snapshot Controls on the 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
Pro Tools Markers and Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Adding Plug-In Data to Snapshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197
Snapshot Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198
Snapshot Data Types and Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Chapter 22. Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
The Events Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204
Creating Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Creating Triggers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Creating Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Testing Events. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Resetting Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
Snapshots and Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Default Settings, Templates and Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Tap Tempo for Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Trigger Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
Action Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Contents vii
 Chapter 23. Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Automating Recall of Snapshots with MIDI Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Remote Control of Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
Triggering of External Devices on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Sending MIDI Messages on Snapshot Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Synchronizing with Word Clock and Digital Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Chapter 24. Using the Standalone Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

System Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Installing the Standalone Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Simulating a VENUE Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Transfer and Filing Quick Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Exporting System Information and Patchbay Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Part VI Specifications

Chapter 25. Mechanical Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Chapter 26. Audio Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Chapter 27. Signal Flow Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

VENUE Profile Systems: Input Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
VENUE Profile Systems: Output Signal Flow. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Chapter 28. 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 29. Control Surface Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

VENUE Profile Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
GPI (General Purpose Interface). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
GPI Wiring Diagrams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

viii VENUE Profile Guide

Chapter 30. ECx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
ECx Capabilities and Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
ECx Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Installing ECx Host Software. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Overview of ECx Setup and Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Connecting a Computer Directly to VENUE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Connecting a Wireless Router or WAP to VENUE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Setting VENUE and Client IP Addresses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Establishing a Wireless Connection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Enabling Remote Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Disconnecting ECx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Changing the Ethernet Control Password . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Appendix A. Compliance Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Environmental Compliance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
EMC (Electromagnetic Compliance). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Safety Compliance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Contents ix
Part I: Overview and Installation
Chapter 1: Introduction to VENUE Profile

Welcome to VENUE Profile, part of Avid’s modular VENUE live sound environment. VENUE Profile systems offer an intuitive
console layout, a flexible I/O scheme, powerful digital processing, and expansion options for integrated Pro Tools recording and
artist-controlled monitor mixing.

VENUE Profile Systems and Features

The VENUE Profile console can be used with one Mix Rack, or with FOH Rack and Stage Rack units.

Figure 1. VENUE Profile console

Profile Console Control Features Console I/O

• 24 bankable input channel strips, each with a touch-sen- • Talkback mic input, with gain and phantom power
sitive fader, one multi-purpose assignable rotary encoder, • Headphone output
solo, mute and select controls • USB inputs for keyboard, mouse/trackball, iLok USB
• Built-In High-Pass Filter, Dynamics and EQ processors on Smart Keys, and USB storage devices
each input channel strip • VGA monitor output for software screen display
• Level meters on each input channel strip • GPI ports (DB-25) providing 8 GPI inputs and 8 GPI out-
• Assignable Channel section with dedicated Bus Assign, puts
Aux Send, Direct Output, EQ and Dynamics controls.
• 8 multi-purpose Output faders strips, each with a
touch-sensitive fader, one multi-purpose encoder, solo,
mute and select controls
• 1 Mains fader
• Up to 24 31-band Graphic EQs available for Outputs
• Main Busses configurable as Left–Center–Right or
Left–Right+Mono

Chapter 1: Introduction to VENUE Profile 3

VENUE Mix Rack System VENUE Profile System
VENUE Profile Console with Mix Rack VENUE Profile Console with FOH Rack and Stage Rack

Mix Rack Features FOH Rack Features

The Mix Rack provides all stage and mix position I/O for The FOH Rack is used with one or more Stage Racks, and pro-
VENUE Mix Rack systems. vides mix position I/O for VENUE Profile systems.

Stage I/O Audio I/O

• 48 inputs with mic preamps. Each fully recallable input • 8 pairs of analog I/O for hardware inserts, or for input
provides phantom power and input gain. and output of line-level material from the mix position.
• 16 line level analog outputs (expandable up to 32) to • Analog and digital (AES or S/PDIF) 2-Track inputs and
connect to mains and monitors. outputs.
• Monitor outputs for mix position near field monitors.
FOH I/O • Intercom mic input
• 8 pairs of analog I/O for hardware inserts, or for input
and output of line-level material from the mix position. Synchronization and Control I/O
• Analog and digital (AES or S/PDIF) 2-Track inputs and • MIDI In and Out ports, providing 16 channels of MIDI
outputs. input and 16 channels of MIDI output.
• Com mic input, with gain control and phantom power. • Word clock I/O for digital clock synchronization.
• Monitor outputs for mix position near field monitors. • USB 2.0 ports for USB disks, iLoks, and other USB devices.
• 100 BaseT Ethernet (ECx) port for Ethernet-based remote
Synchronization and Control I/O control.
• MIDI In and Out ports, providing 16 channels of MIDI • Snake connectors to enable primary and redundant (if
input and 16 channels of MIDI output. applicable) connection to the VENUE Stage Rack.
• Word clock I/O for digital clock synchronization.
• USB 2.0 ports for USB disks, iLoks, and other USB devices. CPU, DSP, and System Drives
• 100 BaseT Ethernet (ECx) port for remote control. FOH Rack houses the CPU, DSP, hard drive and CD-ROM drive
that run the VENUE software on your VENUE system. System
CPU, DSP, and System Drives software is installed at the factory. The CD-ROM drive lets you
Mix Rack houses the CPU, DSP, hard drive and CD-ROM drive update or restore your system software, and install compatible
that run the VENUE software on your VENUE system. System plug-ins from their installer discs. A standard FOH Rack in-
software is installed at the factory. The CD-ROM drive lets you cludes three Mix Engine cards, which provide DSP for plug-ins
update or restore your system software, and install compatible and mixing. You can add up to two additional Mix Engine
plug-ins from their installer discs. A standard Mix Rack in- cards, up to a maximum of five.
cludes two Mix Engine cards providing DSP for plug-ins. You
can add one additional Mix Engine card, for a maximum of
Redundant Power Supply Units (PSUs)
three. Each FOH Rack comes with two universal (100V to 240V nom-
inal, 50–60 Hz) PSUs with auto redundant failover and LED
Redundant Power Supply Units (PSUs) status indication.
Each Mix Rack comes with two universal (100V to 240V nom-
inal, 50–60 Hz) PSUs with auto redundant failover and LED
status indication.

4 VENUE Profile Guide

Stage Rack Features Additional Required Components
Stage Racks are used with an FOH Rack, and provide all stage The following components must be purchased separately:
audio I/O for VENUE Profile systems. Up to two Stage Racks
• Video Display (15-inch or greater flat-panel VGA display
can be used simultaneously, supporting up to 96 total inputs.
recommended; 1024x768 minimum resolution). VGA and
DVI supported.
Audio I/O
• USB keyboard and trackball/mouse (Windows compatible)
• 48 inputs with remotely controllable mic preamps and
individually selectable phantom power.
Digital Snake Cable (VENUE Profile Systems Only)
• 8 analog output channels; expandable up to 48 analog or
• The connection between FOH Rack and Stage Rack requires
digital outputs per Stage Rack.
a Digital Snake cable. This cable can be purchased directly
from Avid or assembled by your preferred vendor.
Synchronization and Control I/O
• Snake connectors to enable primary and redundant (if
applicable) connection to a VENUE FOH Rack. Optional Components
The following components are optional, and must be
purchased separately:
System Components • USB flash disk (or other portable USB storage device for
transfer of Show data; 512 MB or larger recommended)

Included Components • Near-field monitor speakers for mix position monitoring

• Headphones with 1/4-inch jack
All VENUE Profile systems include the following:
• Dynamic or condenser microphone and XLR mic cable
• VENUE Profile console
(for Talkback)
• Two (2) IEC power cables
• Footswitches (up to 2)
• Monitor mount for VGA screen (screen not included)
• MIDI cables (for connecting external MIDI devices)
• Trackball mount (trackball not included)
• BNC cables (for connecting Word clock between the
• VENUE Mouse Pad VENUE system and external digital devices)
• VENUE Profile Guide • 25-pin D-Sub cables (for connecting to GPI devices)
• Two (2) console lights
• Protective Dust Cover
• Rack(s) (see next) VENUE Profile Expansion Options
The following options can be added to VENUE Profile systems.
Racks, Software CDs, iLoks, and Cables
For details on all VENUE systems and options, visit the Avid
Each Mix Rack or FOH Rack includes: website (www.avid.com).
• System Restore CD
• ECx Ethernet Control Software Installer CD Mix Rack Options
• Standalone Software Installer CD
• iLok USB Smart Key (for storing plug-in authorizations) I/O Options
• Plug-in installer discs (if any) with pre-authorized iLok AI16 Analog Mic/Line Input Card that provides 16 analog
• Two (2) IEC power cables mic/line level inputs
• One FOH Link cable for connection to a VENUE console
AO16 Analog Output Card that provides 16 analog line level
Each Stage Rack includes: outputs
• Two (2) IEC power cables
XO16 Analog and Digital Output Card that provides 8 analog
line level outputs, and 8 AES digital outputs.

AT16 A-Net Output Card that provides 16 channels of A-Net

output compatible with Aviom® Personal Mixers and other
Pro16™ Series devices.

IOx Input and output expansion card that provides an addi-

tional 8 channels of analog I/O and 8 channels of AES/EBU
digital I/O.

Chapter 1: Introduction to VENUE Profile 5

DSP Expansion Options Stage Rack Options
An additional Mix Engine card can be added to the Mix Rack
I/O Options
(up to a maximum of three Mix Engine cards) to increase the
amount of DSP available for mixing and plug-in processing. Each Stage Rack supports up to 6 input cards and 6 output
cards, for a total of up to 48 inputs and up to 48 outputs (an-
Record and Playback Options alog or digital). Stage Rack I/O options include the following:

FWx Firewire Card This FireWire-based option lets you record SRI Analog Mic/Line Input Card that provides 8 analog
or play back up to 18 channels of audio directly from Mix Rack mic/line level inputs
with a Pro Tools LE™ system.
SRO Analog Output Card that provides 8 analog line level out-
HDx TDM Card This option lets you record or play back up to puts
64 channels of audio directly from Mix Rack with a Pro
Tools|HD® system. DSI Digital Output Card that provides 8 digital outputs (AES
or ADAT)
Only a single HDx Card can be installed in a Mix Rack.
DSO Digital Output Card that provides 8 digital outputs (AES
Only one Record and Playback Option can be installed at
or ADAT)
any one time.
Personal Q The Personal Q (PQ) monitoring system lets per-
VENUE MADI Card This option card lets you send or receive up
formers adjust their monitor mix being sent from VENUE us-
to 64 channels of MADI digital audio. The VENUE MADI card
ing a PQ Controller unit. The Stage rack can accommodate
can be connected to any compatible MADI device, such as HD
one PQ Rack and up to 8 PQ Controllers.
MADI audio interfaces for Pro Tools.
A-Net Output ANO A-Net Output Card that provides 16 chan-
FOH Rack Options nels of A-Net output compatible with Aviom® Pro16™ Series
devices for personal monitoring.
I/O Options
Additional Stage Rack
An FOH Input/Output (IOx) card can be added to the
A second Stage Rack can be added for a total of up to 96 inputs
FOH Rack, providing an additional 8 channels of analog I/O
or up to 96 outputs. (A second Stage Rack requires an addi-
and 8 channels of AES/EBU Digital I/O.
tional Snake card be installed in the FOH Rack.)

DSP Expansion Options Redundant Digital Snake

Additional Mix Engine cards can be added to the FOH Rack
An optional redundant Digital Snake cable can be run be-
(up to a maximum of 5 Mix Engine cards) for increased mixing
tween the FOH Rack and each Stage Rack. This redundant
and plug-in processing capacity.
Snake automatically takes over communication if the primary
Snake fails.
Snake Card Expansion
VENUE Profile does not support console expansion via
Adding a second Snake Card to the FOH Rack lets you add a
D-Show Sidecar units.
second Stage Rack to your VENUE system, giving you a total of
up to 96 channels of Stage I/O.

Record and Playback Options

FWx Firewire Card This FireWire-based option lets you record
or play back up to 18 channels of audio with a Pro Tools LE™
system.

HDx TDM Card This option lets you record or play back up to
128 channels of audio directly with a Pro Tools|HD® system.

VENUE MADI Card This option card lets you send or receive up
to 64 channels of MADI digital audio. The VENUE MADI card
can be connected to any compatible MADI device, such as HD
MADI audio interfaces for Pro Tools.

6 VENUE Profile Guide

Operational Requirements Connection Requirements

Temperature and Ventilation Power Connections

VENUE units should be operated away from heat sources and Each VENUE component requires its own power connection
with adequate ventilation. for primary and redundant power (if applicable). Make sure
your power source is correctly rated for the number of units
Hardware monitoring and automatic warnings are provided you are connecting. A surge-protected power source (not in-
for temperature, power and other factors. For more informa- cluded) is highly recommended.
tion, see “Hardware Monitoring Window” on page 240.
VENUE Profile power supplies are capable of operating at 50 to
Storage 60 Hz across a voltage range of 100 to 240 V.

VENUE Profile should be stored and transported at tempera-

tures not lower than 0 degrees F (–18 degrees C) and not FOH Link Connection
exceeding 140 degrees F (60 degrees C).
Connection between the VENUE Profile console and the
Mix Rack or FOH Rack is made with the provided FOH Link
Operation cable. For replacement cables, contact Avid Customer Service
VENUE Profile should be operated at temperatures not lower or your VENUE dealer.
than 40 degrees F (4 degrees C) and not exceeding
For more information, see the VENUE FOH Rack Guide.
104 degrees F (40 degrees C).

During operation, the front and back panels of VENUE Profile Audio Connections
should be exposed to ambient air. Do not block the ventila-
All VENUE Profile system analog audio inputs and outputs
tion holes on any VENUE system component.
(except Headphones) are balanced XLR or balanced 1/4-inch
Do not operate in direct sunlight or at extreme ambient connections.
temperatures.
All external digital audio inputs and outputs are AES/EBU
(XLR), ADAT (Lightpipe) or S/PDIF (RCA) connections.
Water and Moisture
For more information on audio connectors and specifica-
VENUE units should be operated away from sources of direct tions, see Chapter 26, “Audio Specifications.”
moisture and should be kept clear of liquids that might spill
into the units. If condensation is present on the unit, leave the
Snake Connections
unit to dry in ambient air for at least one hour before power-
ing the unit on.
VENUE Mix Rack Systems
Humidity ranges for storage and operation
For Mix Rack, an analog multicore snake (not provided) is rec-
Storage humidity range 5% to 95%, non-condensing
ommended to bring inputs from stage to the mix position,
Operating humidity range 20% to 80%, non-condensing and return outputs back to the stage for monitor and mains
amplification.

Cleaning and Maintenance

VENUE Profile Systems
Use a dry cloth to clean the VENUE Profile top surface when
needed. Do not apply any cleaning solutions, spray cleaners, Connection between the FOH Rack and the Stage Rack is made
or abrasives to the surface. with the Digital Snake cable (not included). Cables can be pur-
chased directly from Avid or assembled by your preferred ven-
dor. For Snake cable specifications and requirements, see the
VENUE Stage Rack Guide.

Chapter 1: Introduction to VENUE Profile 7

System Requirements and Conventions Used in This Guide
Compatibility All of our guides use the following conventions to indicate
Avid can only assure compatibility and provide support for menu choices and key commands:
:

hardware and software it has tested and approved.

Convention Action
For complete system requirements and a list of qualified com-
File > Save Choose Save from the
puters, operating systems, hard drives, and third-party de-
File menu
vices, visit:
www.avid.com/compatibility Control+N Hold down the Control key
and press the N key

Control-click Hold down the Control key

and click the mouse button
Registration
Right-click Click with the right
Review the enclosed Registration Information Card and fol- mouse button
low the instructions on it to quickly register your purchase on-
line. By registering, you become eligible to receive the follow- The names of Commands, Options, and Settings that appear
ing: on-screen are in a different font.
• Technical support information
The following symbols are used to highlight
• Software update and upgrade notices
important information:
• Hardware warranty information
User Tips are helpful hints for getting the
most from your system.

Important Notices include information that

could affect your data or the performance of
your system.

Shortcuts show you useful keyboard or

mouse shortcuts.

Cross References point to related sections in

this guide and other VENUE guides.

8 VENUE Profile Guide

About www.avid.com
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 avail-
able.

Product Registration Register your purchase

online.

Support and Downloads Contact Customer Success (technical

support); download software updates and the latest online
manuals; browse the Compatibility documents for system re-
quirements or search the online Knowledgebase.

Training and Education Study on your own using courses avail-

able online or find out how you can learn in a classroom set-
ting at a certified Avid training center.

Products and Developers Learn about Avid

products; download demo software or learn about our Devel-
opment Partners and their plug-ins, applications, and hard-
ware.

News and Events Get the latest news from Avid or sign up for
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

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).

Chapter 1: Introduction to VENUE Profile 9

Chapter 2: Configuring and Connecting Profile

The chapter shows how to connect the components of a To assemble the Video Monitor Mount:
VENUE Mix Rack and VENUE Profile system.
1 Remove the Video Monitor Mount components from their
packaging.

Unpacking and Assembling (top)

VENUE Profile U bracket

Mounting Arm
 Remove all components from the shipping packaging.
 Place the Profile console on a table or other stable surface
T-bolt (2)
that leaves full access to the front and back panel connectors
Locking Nut (2)
and mounts.
Components of the Video Monitor Mount
 Make sure all components are free of any bags, padding or
other materials. 2 Make sure your video monitor is powered off and discon-
nected, and lay it face down on a padded table.
 Keep cables and other included items organized, making
sure to keep them with their associated component after un- 3 Attach your monitor to the Video Monitor Mount by doing
packing. either of the following, as appropriate for your video monitor:

100mm (MIS-D100) Attach the U bracket to the included

mounting plate using the provided hardware. To complete the
Assembling the Video Monitor Mount assembly, remove the 4 mounting screws from the back of the
and Trackball Mount video monitor, line up the holes of the mounting plate, and
use the screws you removed to secure the plate to the back of
Profile includes a Video Monitor Mount for your VGA moni-
your monitor.
tor, and a Trackball mount for your mouse or trackball.

back screws
Mounting arm (top)
Assembling the Video Monitor Mount
screws U bracket
The Video Monitor Mount is assembled by attaching a flat Mounting plate
panel VGA monitor to the mounting arm. Both 100mm and
75mm VESA (FDMI) video mounting standards are supported. Video monitor
front

Assembling the Video Monitor Mount requires the following Attaching a 100mm VGA monitor to the mounting plate, U bracket and
mounting arm, viewed from the top edge of the monitor
items:
• A VGA flat panel display with 100mm or 75mm mount- 75mm (MIS-D 75) Use the included U bracket. Remove the ap-
ing compatibility propriate screws from the back of your monitor and use them
• A medium sized Phillips screwdriver to secure the U bracket to the back of the monitor.

• A table or similar clear, flat area with a towel or other pad- back
ded surface (big enough to safely lay your video monitor screws
face down) Mounting arm
screws
U bracket
Video monitor
front
Attaching a 75 VGA monitor to the U bracket and mounting arm, viewed
from the top edge of the monitor

Chapter 2: Configuring and Connecting Profile 11

 4 Hold the mounting arm face down so that the narrow (top) Using the Assembled Video Monitor Mount
end is against the back of the U bracket. Make sure the arm is
facing the correct way, and attach the arm to the U bracket us- To remove the Video Monitor Mount:
ing the four screws provided. Make sure all screws are tight-
1 Stand at the back of the console.
ened securely.
2 Holding the VGA screen in one hand, loosen the lock nuts
Attaching the Video Monitor Mount the First Time that secure the Video Monitor Mount to the console.

3 Slide the Video Monitor Mount straight back off the T-bolts.
To attach the Video Monitor Mount to the console:
4 Tighten the lock nuts to secure the T-bolts.
1 From the back of the console, locate the Video Mount slot
below the edge of the outermost back panel extrusion.
To attach the assembled Video Monitor Mount to the console:
2 Take one of the T-bolts included with the Video Mount and
1 Loosen the two lock nuts securing the T-bolts in place, along
insert it into the wider opening at the far left end of the Video the extrusion at the back of the console.
Mount slot. Slide the T-bolt to the right along the slot until it
stays in the track. 2 Position the Video Monitor Mount so that its base slots line
up with the T-bolts, slide the Video Monitor Mount into posi-
tion, and tighten the lock nuts to secure the mount into place.

Assembling and Attaching the Trackball

Mount
Video Mount slot The Trackball Mount provides a tray for your trackball or a
mouse. It can be placed anywhere along the front of the con-
Location of the Video Mount slot
sole, and accommodates left- or right-handed operation. A
3 Take the second T-bolt, insert it into the opening at the left small hook underneath the Trackball mount lets you hang a
and slide it to be a few inches away from the first T-bolt. pair of headphones.
4 Take the two silver lock nuts (thumb nuts) and thread them
loosely onto the T-bolts (do not tighten them). Assembling the Trackball Mount

5 Pick up the assembled Video Monitor Mount and hold it at To attach the Trackball Mount
the bottom of the VGA monitor, so you can balance the unit
1 Unpack the Trackball Mount and components from their
with one hand.
packaging.
6 Position the base of the video mount under the back panel
2 Make sure to unplug any USB or headphone connections at
extrusion and feed the T-bolts through the two slots on the
the front of the console.
front edge of the arm assembly. Loosen the lock nuts if neces-
sary. 3 From the front of the console, locate the slot for the Track-
ball mount (located below the extrusion).
7 Tighten the lock nuts thumb nuts to secure the Video Mon-
itor Mount in position. 4 Take one of the T-bolts included with the Trackball Mount
and insert it into the opening at the right end of the Trackball
To move the monitor left or right: Mount slot. Slide the T-bolt to the left along the slot until it is
 Loosen the thumb nuts slightly and slide the Video Monitor just to the left of the front panel USB and headphone ports.
Mount to the left or right, being carefully not to twist it off ei- 5 Take the second T-bolt, insert it into the opening at the right
ther of the T-bolts. (If the mount comes off the T-bolts, simply and slide it into place a few inches away from the first T-bolt.
reattach it and resume). When in the desired position, tighten
the lock nuts. 6 Take the two silver lock nuts (thumb nuts) and thread them
loosely onto the T-bolts (do not tighten them).
To adjust the height of the monitor: 7 Place the Trackball Mount in position so that you can feed
 Loosen the screws holding the monitor or U bracket to the the T-bolts through the two slots on the lip of the Mount.
mounting arm, and slide it down or up to the desired height.
If mounting on the right, be sure to line up the opening in
Tighten all screws to secure the monitor in its new position.
the mount with the front panel USB and Headphone ports
so they remain accessible.

8 Tighten the lock nuts to secure the assembled Trackball

Mount to the console.

12 VENUE Profile Guide

Using the Trackball Mount
The Trackball Mount can be removed and set up quickly.

Always disconnect USB and headphones from the front

panel before removing or attaching the Trackball Mount.

To remove the Trackball Mount:

1 Holding the Trackball Mount in one hand, loosen the lock
nuts that secure it to the front of the console.

2 Drop the Trackball Mount off track to remove the entire as-
sembly from the console.

3 Replace the lock nuts onto the T-bolts and tighten them
down, to secure them in place.

To attach the assembled Trackball Mount to the console:

1 Loosen the two lock nuts securing the T-bolts in place, along
the extrusion at the front of the console.

2 Position the Trackball Mount so that its base slots line up

with the T-bolts, and slide the Trackball Mount into position.

3 Tighten the lock nuts to secure the mount into place.

Chapter 2: Configuring and Connecting Profile 13

 Connections for VENUE Mix Rack Systems
This section describes system and audio connections for VENUE Mix Rack systems. (For VENUE Profile systems, see “Connections
for VENUE Profile Systems” on page 17).

To connect the Profile console to a Mix Rack:

 Connect one end of the FOH Link cable to the FOH Link port on the back panel of the Profile console. Connect the other end
of the FOH Link cable to the FOH Link port on the front panel of the Mix Rack. On each end, be sure to align the notch in the
connector housing with the slot in the plug, and to rotate the collar until the connector is fully latched.

Figure 2. FOH Link connection between Profile (left) and Mix Rack (right)

Audio Connections
Mix Rack provides 48 analog mic/line inputs, up to 32 analog line outputs, and a variety of analog and digital audio inputs and
outputs. You can use an analog multicore snake cable (not included) to carry multiple stage inputs and outputs to and from the
Mix Rack, or you can connect mics, instruments and other sources directly to Mix Rack Stage inputs, and connect Mix Rack Stage
outputs directly to the inputs on your house/mains systems, or monitor systems.

Stage I/O
Use the following sections to identify where to connect stage I/O to Mix Rack.

FOH I/O

1–16
A
Stage 17–32 B to
house/
analog snake Inputs
mains,
33–48 C monitors
zones

D Stage Outputs
1–16
E

Figure 3. Mix Rack audio connectors and I/O slots (A–E) for stage inputs and outputs

14 VENUE Profile Guide

Stage Inputs 1–48
(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 an-
alog snake cable to run lines from the stage to the Mix Rack (analog snake cable not included). Then connect the snake to Stage
inputs 1–48. (For instructions on applying phantom power and other settings, see the guide that came with your console.)

Stage Outputs 1–16

(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.

FOH I/O
The following sections describe the FOH I/O section of Mix Rack, and how to use its connectors and ports for mix position audio.

2-Track
Com Mic Phantom Power AES/EBU I/O
Monitor 2-Track Digital
Com Mic Gain Outputs Format selector

Com Mic 2-Track

MIDI I/O Input 2-Track Analog I/O S/PDIF I/O Analog I/O 1–8

Figure 4. FOH I/O connectors on Mix Rack

MIDI I/O Ports 2-Track Analog Inputs and Outputs

The MIDI In and Out Ports provide 16 channels of MIDI input The 2-Track analog connections are used for input and output
and 16 channels of MIDI output to the system. The MIDI I/O of analog audio material. These are balanced 1/4-inch TRS
ports are used in sending and receiving Snapshot MIDI mes- connectors.
sages, and in receiving MIDI Time Code from external devices.
2-Track Digital Inputs and Outputs
Com Mic, Gain Control, and Phantom Power
The 2-Track digital connections are used for input and output
The Com Mic connector and controls allow connection of a of digital audio material. Stereo AES/EBU or S/PDIF I/O con-
mic, or a line level source. The Com Mic input is a female nectors are selectable with the AES–SPDIF switch. These con-
XLR/TRS connector that accepts XLR or TRS jacks. The Gain nectors support 24-bit, 48 kHz digital signals. Input signals
control operates in steps of 3 dB. Phantom power may be ap- with other sample rates are sample-rate converted to 48 kHz.
plied to the Com mic with the Mic Power switch.
Analog I/O (1–8)
Do not connect an intercom system directly to the Com
input, as some intercom systems use a signalling voltage The 8 pairs of analog line inputs and outputs are used for hard-
which can damage the FOH IO card. ware inserts, or for input and output of program material from
the mix position. These are balanced, 1/4-inch TRS connec-
Monitor Outputs tors.

The Monitor Outputs are used for output to a near-field mon-

itors or a cue mix system (not included). These are 1/4-inch
balanced TRS connectors.

Chapter 2: Configuring and Connecting Profile 15

 Other Mix Rack Connections
(AC Power, Synchronization and Optional Connections)

AC Power Connectors
The AC Power connectors accept standard AC power cables,
for powering each of the two (redundant) internal Mix Rack
power supply units. Mix Rack power supplies are auto-power
selecting (100V to 240V, 50–60Hz) and automatically work
with a standard modular power cord when connected to an
AC receptacle in any country.

ECx Port
The ECx port lets you connect an RJ-45 Ethernet cable for re-
mote control of the system from a laptop or tablet computer.

For more information see Chapter 30, “ECx.”

USB Ports
The USB ports on the front panel of the Mix Rack are USB 2.0
ports, letting you connect iLoks, USB key disks and other USB
devices. (An additional, secure USB port is located inside the
Mix Rack chassis as well; use this internal port to connect and
secure a pre-loaded iLok to always be available to that Mix
Rack system.)

FOH Link Connector

The FOH Link port connects the Profile console to the system
rack (Mix Rack, or FOH Rack in conjunction with one or more
Stage Racks).

Word Clock I/O

The Word Clock In and Word Clock Out ports let you inte-
grate external digital devices with Mix Rack.

16 VENUE Profile Guide

Connections for VENUE Profile Systems
This section describes system and audio connections for FOH Rack and Stage Rack systems. (For VENUE Mix Rack systems, see
“Connections for VENUE Mix Rack Systems” on page 14).

VENUE Profile

FOH Link Cable

FOH Rack (Front) FOH Rack (Back)

Digital Snake Cables

Stage Rack (Front)

Primary Snake
Redundant Snake

Figure 5. VENUE Profile system component connections

Chapter 2: Configuring and Connecting Profile 17

 Connecting Profile to the FOH Rack
The Profile console is connected to the FOH Rack with the provided FOH Link cable.

To connect the control surface and the FOH Rack:

 Connect the FOH Link cable to the FOH Link port on the back of the Profile console, and to the FOH Link port on the front
panel of the FOH Rack. On each end, be sure to align the notch in the connector housing with the slot in the plug, and to rotate
the collar until the connector is fully latched.

Figure 6. FOH Link connection between Profile (left) and FOH Rack (right)

Connecting the Stage Rack to the FOH Rack

The Stage Rack is connected to the FOH Rack with the Digital Snake cable (purchased separately).

To connect a Stage Rack to the FOH Rack:

1 Connect the send snake to the Stage 1 Out port of the Stage Rack, and to the Stage 1 In port on the FOH Rack.

2 Connect the return snake to the Stage 1 Out port on the FOH Rack, and to the Stage 1 In port on the Stage Rack.

The connectors on Avid’s Digital Snake cable are color coded, so that the white cable connects to the white-outlined ports.

When the system is powered up, the primary snake connection is indicated by a solid Active LED. If the Snake Signal LEDs flash,
a Snake connection could not be established.

If there are problems with the Snake connection, double check that all the BNC connectors are fully secured.

Signal LED Signal LED

Redundant Snake
connects here

Connectors with white sleeves

attach to terminals with white labels
(Avid Digital Snake Cable only)

Redundant Snake
connects here

Figure 7. Detail of Digital Snake cable connection between Stage Rack (left) and FOH Rack (right)

18 VENUE Profile Guide

Connecting a Second Stage Rack

If a second Stage Rack is used, an additional Snake Card must be installed in the FOH Rack. See the Snake Card Guide for more
information.

To connect a second Stage Rack:

1 Using a BNC cable (included with the additional Snake card), connect the Word Clock Out port on the first Snake card to the
Word Clock In port on the second Snake card.

Word Clock BNC cable

Word Clock connection between Snake cards

2 Connect the second Stage Rack to the FOH Rack with a Digital Snake cable. See “Connecting the Stage Rack to the FOH Rack”
on page 18.

The primary and redundant snake cables must be the same length.

Snake 1

Word Clock BNC cable

Snake 2

Snake Card 1
Stage Rack 1
Snake Card 2

Snake 1

FOH Rack
Snake 2

Primary Snake
Redundant Snake
Stage Rack 2

Figure 8. Digital Snake cable and word clock connections for fully redundant system with 2 Stage Racks

Chapter 2: Configuring and Connecting Profile 19

 Audio Connections

Stage Rack

Stage Rack Input Cards

Stage Rack Output Card

Figure 9. Audio connectors on Stage Rack

Analog Audio Inputs

(Balanced Female XLR Connectors)
 Connect analog mic-level or line-level input sources to any
of the input connectors on any SRI Card.

Analog Audio Outputs

(Balanced Male XLR Connectors)
Connect analog line-level output destinations (such as
power amplifiers, crossovers, or speakers) to any of the output
connectors on any SRO Card.

Digital I/O

If your Stage Rack includes a digital I/O option, see “Digital In-
puts and Sample Rate Conversion” on page 24.

20 VENUE Profile Guide

FOH Rack

2-Track
Com Mic Phantom Power AES/EBU I/O
Monitor 2-Track Digital
Com Mic Gain Outputs Format selector

Com Mic 2-Track

MIDI I/O Input 2-Track Analog I/O S/PDIF I/O Analog I/O 1–8

IO
section

IOx
section
(Optional)

Digital I/O 1–8 Analog I/O 9–16

Figure 10. Audio connectors on FOH Rack, showing standard IO connectors (top) and optional IOx connectors (bottom)

Analog Inputs and Outputs  Connect a 2-channel digital playback source to the 2-Track
AES/EBU or S/PDIF input.
(Balanced 1/4-inch TRS Connectors)
 Connect the analog inputs and outputs of external proces-  Connect a 2-channel digital recording device to the 2-Track
sors to any of these 8 analog output and input pairs. (16 inputs AES/EBU or S/PDIF output.
and output pairs are available if the IOx option is installed.)  These connectors support 24-bit, 48 kHz digital signals. In-
 Connect any analog output destination (such as a recording put signals with other sample rates are sample-rate converted
device or broadcast feed) to any of the outputs in this section. to 48 kHz.

 Connect any analog sound sources (such as a CD player) to Monitor Outputs

any of the inputs in this section.
(Balanced 1/4-inch TRS Connectors)
Digital Inputs and Outputs - IOx Option only Connect a monitor amplifier or powered monitors to the
Monitor Output connectors.
(AES/EBU Connectors)
 Connect the two-channel digital inputs and outputs of ex-  The Monitor Outputs and the Headphone Output on the
ternal processors to any of the 4 AES/EBU digital output and front of the console are fed by the Solo/Monitor bus
input connectors in this section.
Com Mic Connector
 These connectors support 24-bit, 48 kHz digital signals. In-
 Plug a dynamic or condenser microphone, or any compati-
put signals with other sample rates are sample-rate converted
ble intercom system microphone into this connector.
to 48 kHz.

Com Mic Gain

2-Track Analog Inputs and Outputs
 Turn the Com Mic knob to adjust overall Com Mic gain.
(Balanced 1/4-inch TRS Connectors)
 Connect a 2-track analog playback source to the 2-Track
analog inputs. MIDI Input and Output
 Connect a compatible MIDI device to the MIDI In and MIDI
 Connect a 2-track analog recording device to the 2-Track
Out ports. Snapshots receive and send MIDI commands, and
analog outputs.
generate and respond to MIDI Time Code.
2-Track Digital Inputs and Outputs
(AES/EBU and S/PDIF Connectors) Word Clock
 Switch the 2-Track digital I/O between AES/EBU and S/PDIF If you are integrating digital devices with your VENUE system,
by moving the 2-Track Digital Format selector switch to the make the necessary Word clock connections and settings. For
corresponding position. Only one of these digital formats may details, see “Synchronizing External Digital Source Devices”
be active at a time. on page 25.

Chapter 2: Configuring and Connecting Profile 21

 Talkback
Profile Console Connections
A Talkback input (XLR) is on the top panel.
This section describes the ports and connectors on the VENUE
Profile console. Most connectors are on the Profile back panel.
Talkback Mic Connector
FOH Link  Plug a dynamic or condenser mic into this connector.
Power VGA
Console Lights Footswitch Console Lights

USB GPI Talkback Mic

connector
VENUE Profile back panel and connectors

Talkback switch
VGA Display Talkback level
2-Track switch
 Plug a compatible VGA display into this connector.
Oscillator switch

USB Keyboard and Trackball On/Talk switch Route to

Selected
 Plug a compatible USB keyboard and Trackball (or mouse)
into the two available USB connectors on the front the con- Talkback microphone connector and controls
sole (just below the faders for inputs 17–24).
Talkback Level
 The talkback gain for this connector is fixed at 20 dB.
Other USB Devices
 Adjust talkback send level by pressing the Talkback switch
VENUE Profile provides USB ports on the top panel (near the in the Talkback/Osc section and turning the level knob.
meters) and on the back panel. Use these ports to connect iLok
Smart Keys, USB flash disks or other compatible USB devices.
Talkback Switch
The Profile console provides USB 1.1 ports. For best perfor-  Activate talkback by pressing the Talkback switch.
mance, use the faster USB 2.0 ports on the Mix Rack or
FOH Rack to connect USB flash disks for data transfer.
CAN Bus
FOH Link This XLR3-M connector is not functional.

FOH Link connects Profile to the Mix Rack or FOH Rack. One
FOH Link cable is included with each Mix Rack and FOH Rack. GPI Connections
VENUE Profile provides 8 channels of GPI input and output
Power through separate 25-pin D-Sub connectors on the back panel.

Two male, 3-pin IEC power sockets with cable retaining clips For specifications, wiring diagrams and pinouts, see
are provided, one for each of the internal power supplies. Two Chapter 29, “Control Surface Reference.”
standard IEC power cables are provided with each console.
GPI Applications
Footswitch 1 and 2 GPI inputs are connected to the outputs of a variety of switch-
ing devices such as footswitches, momentary or latching
Two female 1/4-inch TS footswitch jacks are provided for
push-button switches, or logic outputs of a larger show con-
switch input. Footswitches can be normally open or normally
trol system. Example applications of GPI inputs include re-
closed, latching or momentary. Functions are assigned to
mote toggling of a console function such as Talkback, muting
these jacks on-screen in the Options > Events page.
a channel, or recalling a specific snapshot.

Console Lights GPI outputs connect to compatible inputs found on a variety

of external devices such as LEDs, small relays, power sequenc-
Two XLR3-F jacks to connect to the included console lights. ers, and logic inputs on show control systems.

22 VENUE Profile Guide

Example applications of GPI outputs include the following:
• Triggering a sound effects playback machine when a specific
Powering Up the System
snapshot is recalled.
Faders move when power is turned on. Before powering up
• Lighting a tally light whenever a fader is raised above a min-
the system, make sure all fader paths are clear of obstruc-
imum threshold.
tions.
• Flashing or lighting a custom beacon or LED as a reminder
of vital console mode, such as Solo in Place. Power up the system in the following sequence:

• Initiating power up of amplifiers and other down-stream 1 VENUE Profile console

systems when VENUE Profile is started up or shut down.
2 Racks:

GPI functions, as well as footswitch assignment, are managed • Mix Rack

using the Events List in the Options > Events window. For – or –
more information, see Chapter 22, “Events.”
• Stage Rack, then FOH Rack

To connect GPI devices as triggering devices to Profile: 3 Any connected computers for recording/playback options

1 Connect one end of a 25-pin D-Sub cable (not included) to 4 Audio monitoring system
the GPI IN port on the back panel of Profile.
Each power supply has its own power switch that must be
2 Connect the other end to the appropriate GPI output port in the On position in order to be powered up.
on the external device.

To connect GPI devices to be triggered by Profile:

Powering Down the System
1 Connect one end of a 25-pin D-Sub cable to the GPI OUT
Power down the system in the following sequence:
port on the back panel of Profile.
1 Audio monitoring system
2 Connect the other end to the appropriate GPI input on the
external device. 2 Any connected computers for recording/playback options

For specifications, wiring diagrams and pinouts, see 3 Racks:

Chapter 29, “Control Surface Reference.” • FOH Rack, then Stage Rack
– or –
• Mix Rack

4 VENUE Profile console

Setting the System Clock

When you first work with a VENUE system, make sure the sys-
tem clock time, date and time zone are set appropriately. The
system clock setting can affect data synchronization with por-
table storage devices. See “Transferring Settings, Shows and
Presets” on page 175.

The system clock time can be shown in the Status bar for con-
stant time-of-day display. For more information, see “System
Clock” on page 63.

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.

Chapter 2: Configuring and Connecting Profile 23

 Enabling a Second Stage Rack Digital Inputs and Sample Rate
Conversion
To enable and confirm communication with the second Stage
Rack: This section describes how to connect and clock external dig-
ital devices to VENUE systems.
1 Put the system in Config mode.

2 Go to the Options page and click the System tab. If your system includes the VENUE MADI option, see the
VENUE MADI Card guide for more information.
3 Click Edit.

4 Select Enable Stage 2, and click Apply. The system restarts. Overview
The types of digital I/O and connectivity available varies de-
pending on your system components and their configuration:

Mix Rack The VENUE Mix Rack provides a pair of digital (AES)
2-Track inputs and outputs. The Mix Rack can also be ex-
panded to include additional digital I/O (such as an XO16
card, to add 8 channels of analog output and 8 channels of
digital (AES) output). Mix Rack also provides Word clock I/O.

FOH Rack VENUE FOH Racks provide many digital inputs and
outputs, which can be expanded further by adding an IOx or
Enabling the second Stage Rack VENUE MADI card. FOH Rack also provides Word clock I/O.

5 Go to Options > Devices to view hardware status. The con- Stage Rack VENUE Stage Racks can be expanded by adding a
nection to the second Stage Rack should be displayed in the DSI Digital Input card to add 8 channels of digital (AES or
FOH Rack graphic. ADAT) input, and by adding a DSO Digital Output card for 8
channels of digital (AES or ADAT) output. DSI cards also pro-
vide Word clock I/O.

VENUE digital I/O (such as the DSI card) operates at the

VENUE system sample rate of 48 kHz. The DSI card provides
auto-detection and 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 Latency

When sample rate conversion is enabled on DSI or other

VENUE digital inputs, input signal paths will incur a small
amount of latency. The following table illustrates the sample
rate conversion processing delay at various sample rates.
Minimum Additional Latency due to Sample Rate Conversion
Detail of Devices page showing connection to second Stage Rack
External Sample Rate SRC Process Delay

The second Stage Rack must be enabled for the Devices tab 32 kHz 1.50 ms
to display the correct number of input and output cards in
44.1 kHz 1.09 ms
that unit.
48 kHz 1.00 ms

88.2 kHz 0.848 ms

96 kHz 0.833 ms

Sample rate conversion (SRC) can also be disabled (DSI card

only). This provides the lowest possible input path latency,
but requires that care be taken to synchronize the source and
other devices accordingly (see “Synchronizing External Digi-
tal Source Devices” on page 25).

24 VENUE Profile Guide

Even when SRC is disabled, connecting an unsynchronized Using Word Clock Out from the Stage Rack
device to a DSI input causes SRC to automatically be re-en-
(Stage Rack with DSI Card)
abled. This lets audio continue passing without interruption.
 Connect the Word Clock Out provided on the DSI card to
To manually disable Sample Rate Conversion: the corresponding digital device. Set the external device to
slave to the incoming word clock signal.
1 Click the Inputs tab and navigate to the input channel being
fed from a digital input.
External digital device Stage Rack
2 Click the channel’s SRC OFF button until it turns off.
DSI card
AES (or ADAT)
Auto-Detecting
The DSI card (or other VENUE digital card) automatically de-
BNC
tects whether an external device connected to a DSI input is
synchronized to the VENUE system. Here, “synchronized” Set device to slave to
incoming Word Clock DSI Word Clock Out
means the device is running at 48 kHz, and is clocked to the
VENUE system (see “Synchronizing External Digital Source Using word clock from the DSI card to clock an external device
Devices” on page 25). In this case, no sample rate conversion
is required on input. Using Word Clock Out from the FOH Rack
(Stage Rack with DSI Card)
If the external device is not synchronized, the VENUE system
automatically engages sample rate conversion on those inputs  Connect the Word Clock Out on the FOH Rack to the corre-
even if sample rate conversion was manually defeated. The SRC sponding digital device. Set the external device to slave to the
LED flashes on the DSI card, and a message appears on-screen incoming word clock signal.
to indicate this condition.
External digital device Stage Rack
SRC status is not affected when an input channel is reset
DSI card
via right-click “Reset Strip” commands.
AES (or ADAT)

Sample rate conversion can be enabled or disabled manually

for digital inputs, as follows:
 When using AES inputs on DSI cards, sample rate conver- Set device to slave to
sion can be enabled or disabled for each pair of inputs. incoming Word Clock
FOH Rack
 When using ADAT (Optical) inputs on DSI cards, sample
rate conversion can be enabled or disabled for all 8 channels.
Enabling or disabling SRC on any ADAT channel enables or
BNC
disables all other ADAT channels on that DSI card.

Switching input Source between AES and ADAT (Optical) Word Clock Out
ports retains the last sample rate conversion setting for that Using word clock from the FOH Rack to clock an external device
input type and channel (AES channel pairs only).

Automatic detection and enabling of sample rate conver-

sion is always in effect and will engage sample rate conver-
sion whenever a mismatch is detected at a DSI input, even
when sample rate conversion is manually defeated for that
input.

Synchronizing External Digital Source

Devices
When an external device is running at 48 kHz and clocked to
VENUE, disabling sample rate conversion on those digital in-
puts provides the lowest possible input path latency.

Before sample rate conversion is defeated on any input con-

nected to a digital source, that source device must be synchro-
nized (clocked) at 48 kHz in one of the following ways:

Chapter 2: Configuring and Connecting Profile 25

 Using Digital Audio Outputs from the VENUE
System
 Connect any digital output to a digital input of the external
device: Use digital outputs on the Mix Rack (if the system also
includes an XO16 card), Stage Rack (if the system also includes
a DSO card) or any digital output on the FOH Rack. Set the ex-
ternal device to slave to its digital input.

External digital device Stage Rack

DSI card DSO card

AES (or ADAT)

AES (or ADAT)

from DSO card
Set device to slave to
incoming digital signal -or-
FOH Rack
any FOH Rack
digital audio output

Using a digital output to provide clock to an external device

Using House Clock

 Connect a “house” or other external master clock signal to
the Word Clock In on the FOH Rack. Distribute the same
house clock to the external digital device, and set it to slave to
the incoming house word clock signal.

External digital device Stage Rack

DSI card
AES (or ADAT)

Set device to slave to

incoming Word Clock
FOH Rack
BNC

BNC

House clock source

Word Clock In

Using a distributed house (master) to clock a VENUE system and an

external device

26 VENUE Profile Guide

Part II: System Description
Chapter 3: VENUE Profile Control Overview

VENUE Profile Top Panel

The following figure identifies the main sections of the Profile console:

Meters

Bus Output Mains

B D

A A
C

Global
Modifiers
A Input Channels 1–16 and 17–24
B Assignable Channel Sections (ACS)
C Output Masters Section
D Master and Global Controls

Figure 11. VENUE Profile console

Profile provides 24 bankable input channel strips in Input Channel sections, an Assignable Channel Section (ACS), eight bankable
output channel strips plus a Mains fader in the Output Masters section, as well as global controls and comprehensive metering.

Chapter 3: VENUE Profile Control Overview 29

 Input Channels and Faders
Input sections provide 24 faders and other controls for Input Channel and FX Returns. Input channels are arranged in two sec-
tions: Input channel strips 1–16 are to the left of the Output Master Section, while Input strips 17–24 are to the right. Additional
channels are banked to the 24 faders using the Bank A, B, C and D switches. All 24 input channels bank together.

Input faders 1–16 can also be assigned to control FX Returns 1–8 or 9–16, 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 gain reduction. The encoders and associated assignment switches access Gain, Pan, HPF, Compressor
and Gate thresholds 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 ACS.

Clip and Safe LEDs

Bus Assign LEDs

Meters

Encoder Switches Encoders and LEDs

LCD Display
Select
Solo
Mute

Bank A/B/C/D Faders 1–8 FX Returns/GEQ

Figure 12. Input controls (Input Channels 1–8 shown)

Clip LED Safe LED

The Bank Clip Indicator lights to indicate a meter clip on an Automation Safe, Solo Safe, or Bank Safe
Input Channel or FX Return at the corresponding position in The Safe LED indicates either an input strip’s Automation safe
an alternate bank of channels. This indicator obeys the same status, Solo safe status, or Bank Safe status, depending on the
clipping threshold display rules as the Input Channel meters current Input Safe Switch setting. See “Input Safe Switches” on
(as set in the Options > Interaction page). It gives you an indi- page 65
cation of extreme signal level in a currently hidden
(“off-bank”) layer. 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 Recall
Safe is enabled).

30 VENUE Profile Guide

Solo Safe Mode If the Safe LED is flashing, the channel will Input Channel Metering
not respond to solo commands (it will not be muted if another
channel’s solo button is pressed). If the LED is off, that chan- Each Input Channel provides a gain reduction meter, input
nel will be silenced when soloing another channel. level meter, and LEDs to indicate EQ, Gate, and stereo status.

Bank Safe Mode If the Safe LED is flashing rapidly, the chan- Comp Gain Reduction Meter
nel remains in place on the top fader layer when a different
Bank (A–D) is selected (it will be unlinked from console bank- A 3-segment meter displays gain reduction for the channel
ing). If the LED is off, the channel follows banking. compressor/limiter. Green LEDs are used for all segments.

Pressing a channel Safe switch for the Selected Channel tog-

Comp/Lim
gles the current state of that channel. Gain Reduction

Bus Assignment Indicators Input Level

These green LEDs indicate Group bus assignments, and can

also show VCA or Mute Group membership for each channel. EQ In/Out Gate LED
By default, Group bus assignment is displayed.
Stereo
Input channel meters and LEDs
LR C/M
Input Level Meter
1–8
A 6-segment meter displays input level and indicates clipping.
Stereo Pan
Bi-color LEDs are used for all segments, as shown in the fol-
lowing table. Clipping is indicated when all LEDs light red.
Bus Assign indicator LEDs on an Input Channel
For meter scales, see “Channel Meters” on page 115.
Group Bus Assignment
 If the LR LED is lit, the input channel feeds the Left and EQ Status LED
Right Main busses in either L–R or L–C–R panning mode (re- A single red LED indicates EQ In/Out status as shown in the
gardless of the Stereo Pan LED status). following table.
 If the C/M LED is lit, the input channel feeds the C (center)
bus from the pan in L–C–R mode, or the M (mono) bus before Color EQ Status
the pan. Stereo channels are summed to the mono bus.
(none) Not in circuit
 If a bus LED (1–8) is lit, the channel is feeding the corre-
Red In circuit
sponding Group(s). If an LED is off, the channel is not feeding
that Group. The Bus Indicators can also show VCA and Mute
Group membership.
Stereo Channel LED
A single yellow LED indicates a stereo input channel. The ste-
Use the Bus Assign switches to route and assign the cur-
reo channel LED flashes if a 10 dB or greater offset is detected
rently selected channels to busses (see “Assignable Channel
between left and right inputs.
Section” on page 34).
Color Channel Status
VCA Membership
 When VCA Show Members mode is enabled, Group indica- (none) Mono
tors flash to indicate VCA membership.
Yellow Stereo

Mute Groups
Gate Status LED
 When the Mute Groups Show Members switch is pressed,
the Group indicators flash to indicate Mute Group assign- A single bi-color LED shows the current Expander or Gate sta-
ments. A flashing LED indicates that the channel is assigned tus. For LED scales, see “Gate Status LED” on page 115.
to the corresponding Mute Group (1–8).

Stereo Pan LED

This LED indicates when the channel is assigned to a stereo

Groups bus.

Chapter 3: VENUE Profile Control Overview 31

 Input Encoders and Assignment Controls Pan
Each input channel features one assignable input encoder that Pan assigns the encoders to control channel Pan if the chan-
can be assigned to control a variety of channel functions such nel is mono, or stereo channel balance if a stereo. The indica-
as input gain, HPF corner frequency, pan/balance/width, and tor LED lights when the pan is at center.
specific parameters of built-in Dynamics processes.
Comp Thrsh
The Encoder Assignment switches, located to the left of the
row of encoders, determine the function of the encoders on Comp Thrsh assigns the encoders to control the Threshold for
Input Channels. The LCD displays the current function (see the built-in Compressor/Limiter. Pressing the encoder toggles
“Input Channel LCD Display” on page 33). the effect in and out of circuit. If the LED is lit the effect is in
circuit.

Gate Thrsh
Gate Thrsh assigns the encoders to control the Threshold for
the built-in Expander/Gate. Pressing the encoder toggles the
effect in and out of circuit. If the LED is lit the effect is in cir-
Encoders cuit.

LCD
HPF

HPF assigns the encoders to control the HPF corner frequency.

Pressing the encoder toggles the built-in HPF in and out of cir-
Encoder Assignment Switches cuit. If the LED is lit, the filter is in circuit.
Input encoders, assignment switches, and LCD
Delay
Rotary and Switch Functionality
The Delay switch assigns the encoders to control the amount
The rotary encoders on VENUE consoles are dual-function
of delay in the channel. Pressing the encoder toggles the Delay
controls that provide rotary and switch functions. In addition
in and out of circuit. If the LED is lit, the delay is in circuit.
to adjusting parameters by turning the encoder, you can tog-
gle parameters (such as taking the high-pass filter in or out of
circuit) by pressing the encoder knob. Send 1–2 to Send 15–16
These switches let you select one of two Aux sends in
Encoder LEDs odd/even pairs (Send 1–2 through Send 15–16) or Variable
Two types of LEDs surround each encoder: Group sends in odd/even pairs (Send 1–2 through Send 7–8
only).
 The LED ring around the encoder displays the relative posi-
tion of its currently assigned parameter.  With mono sends, the first press of the switch selects the
odd numbered send (1, 3, 5, or 7) and the second press selects
 Below each encoder is an indicator LED, which indicates pa-
the even numbered send (2, 4, 6, or 8). The switch lights green
rameter status (in/out), default setting, or other conditions re-
for the odd-numbered selection, or yellow for the even-num-
lated to the current encoder function.
bered selection.
Switches in the Encoder section assign each of the following  With stereo-linked sends, the first press of the switch con-
parameters to the Input encoders: trols level for the bus pair, and the second press controls pan
for the bus pair. The switch lights green for level control, or
Gain yellow for pan control.

Gain assigns the encoders to control input gain according to Pressing an encoder toggles the send on or off. When the send
the range available for this input (head amp gain for analog level is shown on the LED ring and the send is off, a single LED
inputs, digital gain for digital or line inputs). Pressing and lights. When the send is on, all LEDs light in a clockwise se-
holding the encoder initiates Gain Guess, in which the quence from the lower left to the send level.
VENUE system automatically sets a nominal input gain level
based on the incoming signal.

32 VENUE Profile Guide

Flip to Faders Source Switch
When enabled, the current encoder parameter is mapped to The Source switch in the Display section changes the Channel
the channel faders. It can still be controlled from the encoder Name display to show the source input which is feeding each
row, so the channel fader mirrors the setting. When Flip is en- channel. For example, “S1 17” indicates the channel source is
gaged, all channel name display backlights turn yellow, the Stage Rack 1, Input 17.
same color as the flip switch. Channel name is displayed in
the upper row of the LCD, with the flipped parameter dis-
Select Switch
played in the lower row (mirroring the effect of Flip to Faders).
The Select switch on each channel is used to target the chan-
Flip to Faders provides a special mode when working with nel in the Selected Channel sections, and to include the chan-
stereo Aux sends. For information, see Chapter 10, “Aux nel in Multi-Select and Multi-Assign functions. A lit Select
Sends and Variable Groups.” switch indicates the channel is selected. The name of the cur-
rently selected channel is displayed in the Channel Name dis-
Input Channel LCD Display play and in the Selected Channel display. When multiple
channels are selected, the Channel Name display indicates
There are a total of three Input Channel LCD displays, one
which channel is the ACS target.
each for Inputs 1–8, 9–16 and 17–24.

Each LCD provides two rows of data with six characters per
Solo Switch
row, per input channel. The upper and lower rows let you see
more than one type of channel data simultaneously, such as The Solo switch toggles the solo state of that channel. When
channel name in the lower row and fader dB level in the upper enabled, the Solo switch LED is lit. When the channel is in
row while you adjust the fader. Data display depends on the Solo Safe mode, the Solo switch LED flashes. Channel Solo
current encoder assignment. latches on a momentary press, and automatically releases if
held for 2 seconds or more and released.
Input Encoder Assignments and Values

The current encoder assignment, parameter or value is dis- Mute Switch

played in the top row of the input displays. There are two
The Mute switch mutes the channel at the (pre-fader) mute
states the top row can be in: Parameter Value mode and Pa-
point. Channel pre-fader pickoff is post-mute.
rameter Name mode.

When necessary, the display abbreviates displayed functions Input Faders and Banking
as shown in the following table.
Each channel fader is a 100mm motorized, touch-sensitive
Table 4. Encoder Assignment Displays
fader.
Switch Display
The Options > Interaction screen lets you enable touch-sensi-
Gain Input Gain tive channel selection. When enabled, touching a channel
Pan Input Pan fader automatically selects that channel and makes it the Se-
lected Channel
Comp Thresh Compressor Threshold
The faders on the Profile console can be moved even when
Gate Thresh Gate Threshold
they do not sense a touch. This allows use of the faders
HPF Frequency while wearing gloves. It also lets you “throw” a fader and
have it stay where it lands, and not snap back to the point
Delay Input Delay it was last touched.

Send (n) Aux (n) Level Fader Banking Controls

Aux (n) Pan (stereo-linked sends only)
Variable Group (n) Level Bank A–D Banks the Input strips. Up to four banks (A through
Variable Group (n) Pan (stereo-linked sends only D) can be used to access up to 96 inputs from the 24 Input
Channel faders. Bank A is channels 1–24, Bank B is channels
Flip to Faders Aux (n) Level and Pan (stereo-linked sends
only) 25–48, and so on.

FX Returns Banks FX Return channels 1–8 to Input faders 1–8,

or FX Returns 9–16 to Input faders 9–16.

Chapter 3: VENUE Profile Control Overview 33

 Graphic EQ Banks bands of graphic EQ to the faders. Graphic
EQs can be used on outputs only. For more information, see Assignable Channel Section
Chapter 17, “EQ.”
The Assignable Channel Section provides dedicated routing,
EQ, Dynamics, and insert controls for the currently selected
FX Returns
1–8/9–16 channel. ACS sections include the Input, Bus Assign, Direct
Out, Aux Sends and Inserts sections, the Selected Channel Me-
ters and display, and the Dynamics and EQ sections.

The ACS sections feature a light colored background color,

and each section features a blue LED which, when lit, indi-
cates that section applies to the selected channel.

Input
This section provides a Clip LED, and controls for phantom
power, input pad, polarity (phase), gain and safe status.

Clip LED
GEQ
Bank A–D 20–630 Hz +48 V 20 dB Pad
800–20kHz
Input Polarity
Input fader banking and assignment switches

Global Modifier Switches Input Gain

To the left of the Bank A–D switches are the global modifier
switches. See “Global Modifier Switches” on page 41.
Safe
Multi-Select (Shift) Lets you select multiple input channels,
and lets you select multiple items in lists. Input controls

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

default values. This switch also enables certain modes such as
Direct Output
Show VCA Members mode. The Direct Output section provides level and in/out control
for the channel direct output.
Fine (Ctrl) Lets you select non-adjacent items in lists, or adjust
rotary encoders with greater resolution for finer control.

User This switch is currently not implemented.

Direct Output

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

L–R C/Mono

Group 1–8

Stereo Pan

Bus assign switches

34 VENUE Profile Guide

Aux Sends The 6-character Selected Channel display shows the name of
the currently selected channel. The Selected Channel display
The Aux Sends section provides in/out and level control to temporarily reverts to a parameter display mode any time an
route the currently selected channel to any available mono or encoder is adjusted on the selected channel.
stereo-linked Aux bus. The Aux Sends section is banked using
the Aux 1–8 or Aux 9–16 switches. The Stereo LED lights solid when a stereo input or output is
targeted. The Solo LED flashes any time a channel is in PFL,
The Variable Groups switch accesses Variable Groups mode. AFL or Solo in Place mode.
When D-Show is in Variable Groups mode, the controls for
Aux 1–2 through Aux 7–8 route to Variable Groups 1–2 The dual, 10-segment, bi-color LED meters indicate input level
through 7–8 respectively. The Variable Groups switch also au- and clip status for the currently targeted or Soloed channel.
tomatically toggles the input encoders to Variable Groups 1–8
(instead of Auxes 1–8). For Selected Channel metering scale, see “Selected Channel
Level Meters” on page 116.

Dynamics
The Dynamics section provides dedicated controls and meter-
ing for built-in and plug-in dynamics processors, including a
Send 1–16
encoders and comprehensive set of Compressor/Limiter and Expander/Gate
LEDs
controls.

Aux 1–8/Aux 9–16 Variable Groups

Aux send controls

Insert Processing Dynamics section and controls

The Insert Processing section provides controls to bypass and
select plug-ins on the currently selected channel. See Chapter 16, “Dynamics.”

EQ
The EQ section provides dedicated controls for all built-in and
compatible plug-in EQ parameters including band in/out, fre-
Plug-Ins 1–4 quency, Q, and mode.

In/Out Select
LED
Insert Processing controls

Selected Channel Meter, Display and LEDs

The Selected Channel display section include two 10-segment
Selected Channel meters, a 6-character LCD display and LEDS
for Status and Solo state.
EQ section and controls

See Chapter 17, “EQ.”

LCD Display
Meters
LEDs

Selected Channel meters, displays and LEDs

Chapter 3: VENUE Profile Control Overview 35

 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.

Output Encoders
and switches
LCD Display Insert mode

Select Multi-Assign/Show VCA Members

AFL Select Mains

Mute Mute Mains

Output Fader Mains fader

bank switches

Faders
Figure 13. Output controls

Mains Fader Mute, AFL and Select Switches

The Mains fader provides a single level control for the current Above the faders are the Mute, AFL and Select switches, which
Mains output. mute, solo, and select Auxes or Groups assigned to the Output
section.

Output Faders
Output Encoders and Display
The eight Output Faders control level for Aux 1–8, Aux 9–16,
Personal Q, Matrix and Group busses, and VCAs. The eight Output Encoders adjust additional Output bus con-
trols such as Group pan, Matrix source and PQ source level, as
Output Fader Bank Switches well as plug-in parameters (when in Inserts mode).

The Output faders and encoders are banked to the desired bus The Output Masters LCD display is a two-row display that is
using the Output Faders switches. capable of showing 6 characters in each row, per output bus.
The display shows the name, parameter or value currently be-
Aux 1–8 Assigns the Output Faders to Aux 1–8 levels. ing controlled in the Output Masters section.

Aux 9–16 Assigns the Output Faders to Aux 9–16 levels. The Prev Page and Next Page switches light to indicate addi-
tional functions depending on the selected output or plug-in
Personal Q’s Assigns the Output Faders to PQ mixer output
parameter. When lit, pressing either switch scrolls the Output
levels.
Encoders to the previous or next output or plug-in parameters.
Matrixes Assigns the Output Faders to Matrix mixer output The Inserts Mode switch puts the encoders in Inserts mode, in
levels. which the Output encoders select and adjust plug-ins.

Groups Assigns the Output Faders to Group levels. When in

Variable Groups mode, this switch assigns the Output Faders
to control Variable Groups.

VCAs Assigns the Output Faders to VCAs.

36 VENUE Profile Guide

 Talkback/Osc
Master and Global Controls
The controls in this section provide comprehensive and flexi-
Global and master controls are located in sections with a dark ble communication control, including a top-mounted Talk-
background, and include the Snapshot, View Modes, Console back input (XLR), Assign switches, and level control.
Config, Mute Groups/Function, Monitoring and Talk-
back/Osc sections in the upper right quadrant of the control
surface. In addition, the global Modifier switches for Multi-Se-
lect, Default and Fine are located next to input faders 1–16.

Global Modifiers
The Modifiers section is located to the left of Input faders 1–8,
and provides the Multi-Select, Default, Fine and User switches.

Talkback/Osc
Snapshots
The Snapshots section provides Store, Recall, Previous, Next,
Mute Groups/Function
and Preview mode switches, along with a Select encoder and a Provides Mute Group assignment and selection in default
6-character Snapshot LCD display. Mute Groups mode, or can be switched to provide eight Func-
tion switches (F keys) in Function mode. The global Cancel
switch is also located in this section.

Snapshots

For more information, see Chapter 21, “Snapshots.”

View Modes Mute Groups/Function section

The View Mode switches (Inputs, Outputs, Filing, Snapshots,
Mute Groups
Patchbay, Plug-ins) display the corresponding pages
on-screen. Pressing a View Mode switch repeatedly cycles Mute Groups let you quickly mute multiple channels at the
through the individual tabs of that page. For example, press- same time. You can create and recall up to eight Mute Groups
ing the Patchbay switch once displays the Patchbay page. comprising one or more channels.
Pressing Patchbay again cycles through various tabs within
the Patchbay page. See Chapter 15, “Muting and Mute Groups.”

Function Switches
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), Variable Groups
(F2), Copy (F3) and Paste (F4).

View Modes Function switches can be assigned to perform any number

of actions using the Events window. For more information,
Console Mode see Chapter 22, “Events.”

The Config Mode switch toggles the system between Config Cancel
and Show modes.
This switch cancels the current operation, such as Multi-Select
or Multi-Assign modes.

Console Mode

Chapter 3: VENUE Profile Control Overview 37

 Monitoring
Meters
The Monitoring section provides level encoders for the Moni-
tor (near field monitors) and Headphone outputs. The Meter section includes the following:

Bus Masters Mains

Monitoring controls
Meters
Monitor bus delay can be set on-screen in the Options > Bus-
ses page. Bus Output Meters
Eight Bus Output meters provide selectable metering of Out-
USB Port and System Status LEDs put busses.
These LEDs indicate power and system status. These controls
are located in the upper left corner of the control surface. Mains
The Mains meters provide constant level indication of the
house (Mains) output.

For more information, see Chapter 13, “Metering.”

Top panel USB port and status LEDs

For more information, see Chapter 28, “Troubleshooting.”

38 VENUE Profile Guide

Chapter 4: Basic Commands and Modes

Tool Tips
Control Overview
With the mouse or trackball, place the cursor over a screen
Most features and controls that are used during a performance item to see a brief explanation in the banner display.
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 con-
trols to mix. Cursor

The software screen is not required in order to mix a perfor-

mance, as all essential mixing controls are provided on the
Tool Tip
console. However, the screen is essential when setting up and
configuring the system before a performance. Status bar showing Tool Tip

Status Messages
Software-Only Controls and Displays
The banner display alerts you to certain operating conditions
Many configuration settings and options are only available
such as Multi-Select and Multi-Assign modes.
on-screen, including hardware configuration settings, busses,
plug-in installation, and system diagnostics. For more infor-
mation, see “System” on page 57.

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 mix-
ing 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 the system targets channels to best match your working
style. For more information, see “Interaction” on page 64.

Chapter 4: Basic Commands and Modes 39

 Config Mode and Show Mode System Lock
There are two main operating modes, Config Mode and Show System Lock locks out all manual changes (console and screen
Mode. Use Config mode to set up your system and options; actions), allowing the operator to safely step away from the
use Show mode to mix your performance. system. Audio continues to pass but is not affected by console
controls until the operator disables System Lock.
Config Mode
(System Lock is not available in the Standalone software.)
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:
• Choose a Main mix format (L–R+M, or L–C–R) System Lock button on the Options > System page
• Designate the number and mono/stereo format of avail-
able auxes and groups, combine two mono channels into Locking and Unlocking the System
one stereo input channel, or split a stereo input channel
into two mono channels. To engage System Lock:
• Install plug-ins 1 Go to the Option > Systems page.
• Assign plug-ins in the software racks 2 Click the Lock button in the System section.
• Route side-chain inputs to plug-ins
3 In the dialog that appears, click Lock.
• Initialize (or reset) hardware devices and options
• Change Matrix and PQ Source pickoff points On the console, the LCDs for each 8-channel fader bank dis-
• Change Master Insert points play System Locked.
• Customize console and software interaction On-screen, an Unlock button appears in the lower right corner
• Move channels to different fader strips in front of a dimmed background image.
• Perform system tests and diagnostics
You can add your own custom images to display in place of
Some Config mode operations interrupt audio throughput. the default VENUE logo. See “Customizing the System
Lock Display” on page 41 for information.
Show Mode
To unlock the system (disengage System Lock):
Show mode is the main operating mode for the system soft-
ware. All mixing and routing features are available, based on  Do either of the following:
your settings made in Config mode. • Press and hold the Cancel button on the console for two
seconds.

Toggling Between Config Mode and – or –

Show Mode • Click Unlock in the lower right corner of the screen.

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

To put the system into Config mode or Show mode, do one of the
following: mouse or keyboard to bring it back.

 Press the Console Mode switch (located near the top center
of the console, above the Insert Processing section). When the
System Status while Locked
switch LED is lit, the system is in Config mode. GPI All console GPI inputs and outputs are disabled while the
– or – system is locked.

 Double-click the Mode display in the Status Bar, located in Footswitches All Footswitch inputs are disabled while the sys-
lower-right hand corner of the screen. tem is locked.

Events All Event triggers and actions that include console or

GPI/Footswitch functions are disabled while the system is
locked.

40 VENUE Profile Guide

MIDI and MTC
Global Modifier Switches
While the system is locked:
• Snapshots continue to be recalled via MTC, either inter- VENUE Profile provides a set of global modifier switches:
nally or externally generated. 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 Snap-
shots Respond option is selected on the Options > Snap-
shots page. Multi-Select
• The system continues to send MIDI program changes Default
when a snapshot is recalled if the Snapshots Send option
is selected on the Options > Snapshots page. Fine

• The system continues to send MIDI messages stored User

within snapshots, provided the MIDI data type is scoped.

MTC can be disabled using the CHASE MTC button on the

Snapshots page. Also, the sending and receiving of MIDI Global modifiers
data can be turned off by deselecting the MIDI options on
the Options > Snapshots page. These switches provide frequently used shortcuts that can be
applied to console actions and software screen interactions.
Customizing the System Lock Display
You can manually add one or more custom images to display Multi-Select Switch
during System Lock, rather than the default VENUE logo back-
The Multi-Select (Shift) switch lets you select multiple Input
ground.
Channels and then apply an action to all selected channels.
Multiple images are displayed one after the other for 20 sec- Multi-Select is useful for batch routing and assignment of in-
onds in a random order. (Pressing the Spacebar advances to put channels.
the next image immediately.)
Most channel functions support Multi-Select (or Multi-Assign)
as noted throughout this guide. For details, see “Selecting and
To install custom System Lock images: Targeting Channels” on page 48.
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;
Default Switch
smaller or larger images can be used, but will be centered or
scaled, respectively.) The Default (Alt) switch provides a quick way to reset a control
to its default setting (or “zero” the setting). It is equivalent to,
2 Put the system into Config mode.
and interchangeable with, the Alt key on the keyboard.
3 Go to the Options > System page.

4 Ctrl-click the Shutdown button.

Examples of Using Default

5 Copy the image from your USB key disk to the following lo- To reset a fader to 0 dB:
cation on the system drive:
1 Press and hold the Default switch.
User Data\D-Show\Images
2 Press the Select switch on the channel you want to reset.
6 Double-click the Return to D-Show icon on the Desktop to re-
start VENUE software.
To reset a single EQ parameter:
 Hold the Default switch and press the encoder or switch for
that parameter.

To reset a parameter using only the keyboard and trackball,

Alt-click the on-screen control.

Chapter 4: Basic Commands and Modes 41

 Fine Switch
Software Screen Pages and Tabs
The Fine (Ctrl) switch lets you adjust controls (except for fad-
ers) on the console or on-screen with maximum resolution.
For example, if by default a control adjusts a parameter in
Viewing Pages
units of 1 dB, the Fine switch allows adjustment in units of
To view a page, do one of the following:
0.1 dB.
 Press a View Mode switch.
To adjust a control with fine resolution: – or –
 Press and hold the Fine switch while moving a control. The  Click the page name at the top of the screen.
display associated with the adjusted control will show the val-
ues change at the corresponding resolution. When additional tabs are available for a page, go to those tabs
by pressing the corresponding View Mode switch again to
Momentary and Latching Modes cycle through the tabs on that page, or by clicking their names
on-screen.
The Fine switch supports momentary and latching operation.
Click page name to display
Momentary In momentary mode, the Fine switch stays in ef-
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.

2 Adjust a channel, parameter, or processor.

3 Release the Fine switch.

To use the Fine switch in latching mode:

1 Double-press the Fine switch. The switch LED lights.
Viewing pages
2 Select or adjust one or more channels, parameters, or pro-
cessors.

3 Press the Fine switch again to exit latching mode.

User
The User switch is reserved for future use.

42 VENUE Profile Guide

Overview of Software Pages Filing
The software screen provides the following pages and tabs. Load, save, and transfer shows and presets, and access the con-
sole History.
Inputs
Select, name, configure, and adjust parameters for input chan-
nels and FX Returns.

Filing (Load tab)

See Chapter 20, “Shows and File Management.”

Inputs page (analog input shown)

Snapshots

See Chapter 7, “Inputs and Input Routing.” Store and recall snapshots, and access the Recall Safe window.

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

Snapshots page

See Chapter 21, “Snapshots.”

Outputs page

See Chapter 8, “Outputs and Output Routing.”

Chapter 4: Basic Commands and Modes 43

 Patchbay Options
Label your channels and assign input and output patching. Configure system, routing and metering options, set interac-
tion, hardware and general preferences, install plug-ins, and
access the Events window.

Patchbay (Outputs tab)

See Chapter 12, “Patchbay.” Options page (System tab for VENUE Mix Rack system shown)

Plug-Ins See Chapter 6, “Options.”

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

patch/route and manage plug-ins.

Plug-In page

See Chapter 18, “Plug-Ins.”

44 VENUE Profile Guide

Chapter 5: Navigating and Selecting Channels

FX Returns Banking
Banking Input Channels and FX
Returns The FX Returns switches bank FX Return channels 1–8 or 9–16
to input faders 1–8 or 9–16, respectively.
Many VENUE configurations utilize more physical inputs
than input faders. To navigate to channels beyond the num- When only one FX Return bank is selected, other input faders
ber of physical faders, the system provides channel banking remain banked on their current input channels. The Input
controls. bank button flashes to indicate which bank is currently as-
signed to these channels.
The Bank switches navigate the display of input channels on
the console. To bank FX Returns:
• Input channel banks are accessed using the Bank A, B, C,
 Press the FX Returns 1–8 or FX Returns 9–16 switch.
and D switches, located to the left of the input faders.
• FX Returns are accessed using the FX Returns 1–8 and The FX Returns are banked to the input faders. Bank switch A,
9–16 switches, located between input faders 1–8 and B, C or D flashes in order to indicate the current bank assign-
9–16. ment of other input faders.
• Input Channels and FX Returns can be put in Bank Safe
mode, leaving them accessible regardless of the currently To bank Input Channels while keeping FX Return channels on the
input faders:
selected bank.
 Press any unlit Bank switch (A, B, C, D).

Input Channel Banking

To return input faders to Input Channel banking, do one of the
The Bank A, B, C and D switches affect all input faders. following:
 Press the lit FX Returns switch (1–8 or 9–16).
FX Returns
1–8/9–16 – 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 1–16 with either
bank of EQ bands shown for each Graphic EQ bank switch
(20-630 Hz, 800-20 kHz).

See Chapter 17, “EQ.”

GEQ
Bank A–D 20–630 Hz
800–20kHz
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 45

 Bank Safe Mode for Input Safe Switches 2 In the Input Safe Switches section, click to enable Act as
Bank Safes.
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 Re-

turns 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,
Choices for Input Safe Switches in the Options > Interaction page
letting you temporarily “lock” the location of key input chan-
nels (such as a lead vocal, pulpit mics and similar) or On-screen, the Safe switches at the top of each fader display
FX returns to maintain immediate access while working with the letter B to indicate Bank Safe mode. (See “On-Screen Dis-
channels on a different layer. play of Safe Switch Status” on page 47.)

For example, imagine 16 total input channels assigned to four You can also use the Event List to configure the Safe mode.
banks (A through D) of an imaginary 4-fader console. For more information, see Chapter 22, “Events.”
Default channel layout for a 4-fader example
Using Bank Safe
Bank Fader 1 Fader 2 Fader 3 Fader 4

A To Bank Safe channels:

Ch 1 Ch 2 Ch 3 Ch 4
1 Make sure you have enabled Bank Safe mode for the Input
B Ch 5 Ch 6 Ch 7 Ch 8
Safe switches.
C Ch 9 Ch 10 Ch 11 Ch 12
2 Select one or more input channels.
D Ch 13 Ch 14 Ch 15 Ch 16 3 Press the Safe switch in the Inputs area of the Selected Chan-
nel section.
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

A Ch 1 Ch 6 Ch 3 Ch 4

B Ch 5 Ch 6 Ch 7 Ch 8
Safe switch
C Ch 9 Ch 6 Ch 11 Ch 12 Selected Channel, Input Safe switch
D Ch 13 Ch 6 Ch 15 Ch 16 4 Press a Bank switch (A, B, C or D) to navigate to a different
bank. Notice that the channel you Bank Safed remains; corre-
Note that channels 2, 10, and 14 no longer appear on the con- sponding channels on other banks, though not present on the
sole (though they remain accessible on-screen). console, are still accessible on-screen.
When an input channel or FX Return is removed from Bank
Safe, the input channel that would normally appear in that Toggling Bank Safe On-Screen
fader location on the currently selected bank automatically
re-appears. To Bank Safe channels on-screen:
1 Make sure you have enabled Bank Safe mode for the Input
Bank Safe is only available for Input channels (Output chan-
Safe switches.
nels cannot be Bank Safed). Bank Safe status for all channels is
stored with the Show file.

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.

46 VENUE Profile Guide

2 Click the channel Safe buttons on-screen, located at the top • Splitting a stereo strip(s)
of each input channel strip. • Opening a Show file that was saved on a VENUE system
that used a different console.
Safe buttons
Priority for Replacing Bank Safe Assignments

The following rules apply to resolve any potential collisions

between Bank Safed channel assignments:
• 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.
Toggling Bank Safe on-screen
In addition:
Safe Switch LED and Indication
The Safe LED at the top of each input strip flashes rapidly to Make Stereo The Bank Safe status of the left channel is inher-
indicate Bank Safe is enabled on that channel. ited by the newly created stereo channel.

When a Bank Safed channel is targeted, the Safe switch in the Split Stereo The Bank Safe status of the stereo channel is ap-
Input section also flashes rapidly. plied to each of the newly created mono channels.

On-Screen Display of Safe Switch Status Bank Safe and Backup Personality
The channel Safe switches at the top of each strip of the Channel Bank Safe remains in effect and available if Bank Safe
on-screen faders light to indicate the current Safe status of mode is engaged. This ensures consistent and uninterrupted
each channel. When lit, that channel is enabled for the cur- fader control during the rare case of a system reset.
rent Input Safe Switch mode (Automation, Solo, or Bank Safe).
Modified Bank Safe functionality is available while the Backup
Each on-screen Safe switch indicates the current Input Safe
Personality is active. Specifically:
Switch mode through use of a letter in the lit switch. For ex-
ample, on-screen Safe switches show the letter B if Bank Safe • Input Channel layout does not unexpectedly change
mode is enabled and the channel is Bank Safed. when the backup personality is activated or de-activated.
• Input Channel Safe LEDs automatically revert to display-
ing Bank Safe status.
• The Safe switch in the Selected Channel Inputs section
Bank Safe (two channels enabled) flashes rapidly if one or more channels are Bank Safed.

Special Cases Affecting Bank Safe • Pressing the flashing Inputs Safe switch clears the Bank
Safe status of all safed channels. Bank Safe status is not re-
Special rules and conditions are automatically applied to Bank stored upon resuming normal operation, nor can it be
Safe status whenever you do the following: re-enabled for any channel while the Backup Personality
• Bank to GEQ faders is active.
• Move channels or shuffle channel layout
You cannot change the current Input Safe Switch mode while
• Change the system configuration the Backup Personality is active.

GEQ Fader Mode After Resuming Normal Operation

Selecting a GEQ fader bank overrides Bank Safe. Returning to Any changes to Bank Safe status made while the Backup Per-
any fader bank (thus exiting GEQ Fader mode) restores the sonality is active will persist when normal operation resumes.
previous input layout, including Bank Safe status. This applies You can continue working uninterrupted knowing Bank Safe
to channels 1–16 on VENUE Profile. status will not be reset to its state prior to when the Backup
Personality was activated.
Moving or Shuffling Channels

Bank Safed channels shuffle accordingly when any operation

is performed that results in a re-ordering of input channels, in-
cluding the following:
• Inserting or Removing a Blank Strip
• Moving a strip

Chapter 5: Navigating and Selecting Channels 47

 Multi-Select (Shift)
Banking the Output Section
Multi-Select lets you select multiple channels in order to apply
Outputs are controlled using the Output faders and Encoders. 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:
1 Press and hold the Multi-Select switch (located next to the
To bank the Output faders to control Auxes, PQs, Matrix mixers, input Bank switches). The switch flashes to indicate Multi–Se-
Groups (or Var Groups), or VCAs: lect mode.
 Press the corresponding switch in the Output Faders sec- 2 Press Select on each channel you want to include in the se-
tion. lection.

3 Release the Multi-Select switch.

4 Perform a routing assignment or other function (for exam-

Select ple, press a Bus Assign switch on one of the included chan-
nels). The operation is applied to all selected channels.

You can use the Shift key on the keyboard or the Multi-Se-
lect (Shift) switch to select multiple channels.

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

Output
banks  Press Cancel.
– or –

Bank switches for Output channels  Press the Select switch on a channel that is currently not se-

lected.

Selecting and Targeting Channels To select multiple channels on-screen:

 Press and hold the Multi-Select switch (or hold Shift on the
Each VENUE channel strip has a channel Select switch. The
Select switch targets that channel for routing or processing as- keyboard) and click the fader strips on-screen.
signment. When a single channel is selected it becomes the
targeted channel, which can be adjusted from the console or To select an 8-channel bank on-screen:
on-screen. Channels can also be selected by clicking their  Click the bank name below the on-screen fader strips.
fader strips on-screen. Shift-click to select additional banks or channels.

To select a channel, do one of the following:

 Press the Select switch on the console channel strip.
– or –

 Click anywhere in the on-screen channel fader strip, except

Click to select
on the fader, mute, solo or safe buttons. banks of 8
Clicking a bank display to select multiple channels on-screen

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.

Click to select channel To remove a channel from a selection:

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

See “Screen Controls” on page 50 for additional on-screen

Clicking on-screen to select a channel
features.

48 VENUE Profile Guide

Multi-Assign Type Text Search
The Multi-Assign switch in the Output section is used to route Type Text search lets you use the keyboard for fast navigation
multiple channels to the selected output bus. 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 ab-
To assign one or more channels to an Aux, Group, or VCA: solute channel number to target that channel on the ACS. (See
also “Selecting and Targeting Channels” on page 48.)
1 Press one of the following switches in the Output Fader as-
signment section:
To search for and select a channel by name:
• Aux 1–8
1 Go to the Inputs, Outputs, or Patchbay page.
• Aux 9–16
• Groups 2 Type the first few letters, channel number, or full name of
• VCAs the channel. For example, type “s” to go to the first channel
beginning with the letter s (such as Snare).
2 Press the Multi-Assign switch near the Output encoders. The
flashing Multi-Assign switch and the banner display at the 3 Press the Tab key to cycle through and select any other
lower left of the screen indicate Multi-Assign mode is enabled. channels beginning with that letter (such as Snare Top, Snare
Bottom, or Strings).
3 Press the Select switches on the channels you want to assign
to the Aux, Group, or VCA.
To search for and select a list item by name (or number):
4 Select any other output to confirm the previous assignment 1 Go to the Snapshots, Events or Filing page. Or, click to open
and proceed to assigning channels to the new selection. To any Presets window (built-in Dynamics or EQ presets, Input
confirm the assignment and exit Multi-Assign mode, press the Channel presets, or Scope Sets).
flashing Multi-Assign switch.
2 Type the first few letters or number of the desired item.
5 To cancel the assignment do either of the following:
3 Press the Tab key to cycle through and select any other items
• Press the Cancel switch (in the Mute Groups/Function
that begin with the same letters.
section), or press the ESC key on your keyboard.
– or –
Channel Numbers and Names
• Click Cancel in the on-screen Multi-Assign dialog box.
VENUE SC48 channel numbers are “absolute” channel num-
See Chapter 8, “Outputs and Output Routing.” bers. 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 18, “Plug-Ins.”

Chapter 5: Navigating and Selecting Channels 49

 Adjusting On-Screen Encoders
Screen Controls
You can adjust on-screen rotary encoders by dragging directly
over the on-screen knob.
Adjusting On-Screen Faders
You can move on-screen faders independently or in ganged To adjust an on-screen rotary encoder:
fashion. 1 Click on the knob so that it is highlighted.

To adjust a single fader on-screen, do one of the following: 2 Drag up to turn the encoder clockwise; drag down to turn
the encoder counter-clockwise.
 Drag a fader in the on-screen channel strip section at the
bottom of the screen.
– 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 In addition to typing numeric values in text boxes, you can
selected channel adjust parameter values and numeric option settings
section
on-screen by dragging directly over the corresponding text
box.
Fader in
channel strip section
To adjust a value on-screen by dragging:
1 Click in the text box to select the value.
Dragging a fader on-screen
2 Drag up to increase the value; drag down to decrease the
To move multiple faders on-screen in ganged fashion: value.

1 Select multiple channels on-screen by Shift-clicking.

2 Move the fader on one of the selected channels.

The faders on the selected channels will move in ganged fash-

ion. 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).
Adjusting a parameter value by dragging over its text box

Selected
channels

Dragging multiple faders on-screen

50 VENUE Profile Guide

 To copy and paste channel settings on-screen:
Screen Shortcuts 1 Do one of the following:
The on-screen Fader display provides the following right-click • Right-click on a channel fader in the fader display across
shortcuts. 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 set-
See also “Fader and Encoder Shortcuts” on page 54. tings on-screen.

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

Reset Fader to 0
to selected channels.
Resets the fader position to zero.
3 Right-click on the lower fader strip on-screen, or on any
non-control area of the destination channel, and choose Paste
Reset Selected Input Strips to Selected Strip(s). The status displays shows a message con-
firming the Paste operation.
Resets every parameter on the selected channel(s) to default
settings.
Parameters and Channel Types

Copy and Paste Channel Input channels can only be copied or pasted to other Input
channels. Output channels can only be copied or pasted to
Channel settings can be copied in their entirety from one other channels of the same type (such as Aux, Group, PQ,
channel and pasted to one or more channels from the console Matrix). When pasting channel settings:
or on-screen.
• Settings common to the source and destination channel
You can also store and load settings as Input Channel Pre- are always pasted.
sets. For information, see “Input Channel Presets” on • Copied settings with no corresponding parameter in the
page 54. destination channel are ignored.
• Settings in the destination channel with no correspond-
By default, Function switches 3 and 4 (F3 and F4) are pro- ing parameters are left unchanged.
grammed for Copy and Paste, respectively.

Using the Events List, Copy and Paste can be assigned to Copying and Pasting Mono and Stereo Channel
any trigger. For more information, see Chapter 22, Settings
“Events.” You can copy a mono channel and paste its settings to one or
more stereo channels. Mono settings are applied equally to
To copy and paste channel settings from the console:
the left and right channels of the stereo destination. The ste-
1 Press the Select switch on the channel you want to copy. reo destination channel retains its current balance and width
2 Press F3 to copy.
settings.

3 Press the Select switch on one or more destination channels You can also copy a stereo channel and paste its settings to
(the channel or channels to which you want to paste the cop- one or more mono channels. The left channel settings of the
ied settings). stereo source are applied to the mono channel(s). The mono
destination channel retains its current pan setting.
4 Press F4 to paste. The status displays shows a message con-
firming the Paste operation.

Chapter 5: Navigating and Selecting Channels 51

 Settings Excluded from Copy and Paste Insert Blank Strip
Input Channels The following Input channel parameters are The Insert Blank Strip command lets you insert one or more
not copied or pasted (the current settings of the destination blank (or “spacer”) strips anywhere among your input chan-
channels are retained): nels. In addition, blank strips are automatically inserted when
• Patchbay assignments, including Direct Outs you use the Make Stereo command to convert two mono in-
• Channel Name put channels into a single stereo channel, preserving the
channel layout.
• Hardware and software insert (plug-ins) assignments and
in/out state. Blank strips are strictly placeholders (no audio or any type or
processing take place), and therefore consume no additional
Output Channels The following Output channel parameters
processing overhead or DSP resources.
are not copied or pasted (the current settings of the destina-
tion channels are retained): Use blank strips to create obvious divisions between groups of
• Patchbay assignments, including Direct Outs instruments, or to optimize the bank placement of inputs on
• Channel Name the console.
• Hardware and software insert (plug-in) assignments and
Blank strips are saved and loaded as part of the Show file.
in/out status
Blank strips remain available during Backup Personality
• GEQ settings mode.
• Output membership (the assignment of channels to an
Aux, Group, VCA, Matrix or PQ). Blank Strips on the Console
To copy GEQ settings, use the copy/paste GEQ shortcut or A blank strip has no LCD channel name display, and all of its
use GEQ Presets. Use the Replace with Mix (members) From physical controls and indicators are inactive. Blank strip fad-
command to replace output membership for an Aux, Group, ers are set to the bottom (–inf) position and always revert to
VCA, Matrix or PQ. this position if moved.

Make Selected Mono Strips Stereo/Make Blank Strips On-Screen

Selected Stereo Strip Mono
Blank strips appear as a simple gray strip with no fader, but-
Combines two selected mono channels into a single stereo tons or meter. A blank strip can be right-clicked to reveal its
channel, or splits a selected stereo channel into two mono context menu.
channels. VENUE must be in Config mode to change the ste-
reo status of a channel.

Move Selected Strip

Moves a selected strip from its current position to a new loca-
tion. 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. Blank Strip
2 Select the channel you want to move.
Blank strip in position 16, Right-click menu shown
3 On-screen, right-click on the destination strip (where you
want to move the selected channel).

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

Snapshots cannot store and recall custom console channel

position.

52 VENUE Profile Guide

Adding Blank Strips Split Stereo The behavior when splitting a stereo strip into
two mono strips is as follows:
Blank strips can be inserted manually, and are also created au-
• If a blank strip is located immediately adjacent to the
tomatically when you use the Make Stereo command.
(previously) stereo channel, the right channel of the ste-
reo pair occupies this position and the blank strip is au-
Manually Inserting Blank Strips
tomatically removed. No other channels shuffle.
To manually add a blank strip: • If no blank strip is located immediately adjacent to the
(previously) stereo channel, all channels to the right of
1 Enable Config mode.
the split point shuffle one position to the right and the
2 Right-click an input channel strip at the location where you right channel of the stereo pair is inserted.
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, Removing Blank Strips
right-click on channel 16.
Blank strips can be removed manually.
You can also select a blank strip and choose Insert Blank Strip
to insert multiple blank strips. Manually Removing Blank Strips

All channels to the right of the insertion point (including the To remove a blank strip:
right-clicked channel) are shuffled one position to the right.
 Right-click the blank strip you wish to remove and choose
This command will be unavailable if the combined number Remove Blank Strip.
of input channel strips plus blank strips equals or exceeds
96. For more information, see “Limits and Guidelines for To remove all blank strips:
Blank Strips” on page 53.  Right-click any blank strip and choose Remove All Blank
Strips.
To insert multiple blank strips:
1 Put the system into Config mode. Blank strips are removed and all channels to the right are shuf-
fled one position to the left.
2 Create a multi-selection of channels.

3 Right-click on one of the selected channels and choose In- Limits and Guidelines for Blank Strips
sert Blank Strips at Selection.
The maximum number of fader strips is 96. These 96 positions
A blank strip is inserted in place of each selected channel strip, can be comprised of any combination of mono or stereo input
shifting all channels accordingly and maintaining the channels, as well as blank strips. (FX Returns are considered
multi-selection. separate and are not included in this count.)

The maximum number of blank strips that can be used varies

Automatically Inserting Blank Strips using Make Stereo
depending on the current system configuration and the num-
VENUE automatically creates blank strips when you use the ber of stereo channels used in the configuration. This number
Make Stereo command in order to preserve the current chan- can be calculated as:
nel layout. Similarly, blank strips may be automatically re-
moved when you use the Split Stereo command to revert a ste- (96 – the number of input channels in System Configuration)
reo strip to its two contributing mono channels. + Number of stereo channels

Make Stereo A blank strip is automatically inserted at the lo- For example:
cation previously occupied by the right-side channel of the • A 96 channel configuration with 96 mono channels can
newly-formed stereo pair. There is no shuffling of the remain- have 0 blank strips.
ing 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 53

 Fader and Encoder Shortcuts To store a channel as an Input Channel Preset:
1 Configure an Input Channel as desired.
The on-screen channel faders and encoders provide the fol-
lowing right-click shortcuts to reset individual parameters and 2 Click the Channel Presets icon (the folder icon located to
channel strips. the right of the Channel Routing indicator and +/– buttons).

Channel Presets
Right-clicking channel strip controls on-screen Channel Presets icon in the Inputs page

Reset Parameter 3 Specify a folder in which to save the preset, if the currently
selected folder is not appropriate, by clicking the Folder selec-
To reset an on-screen fader or encoder to its default value, do one tor and selecting a different folder.
of the following:
4 Click New.
 Right-click the control and choose Reset.
– or –
Folders
 Alt-click the control.

Reset Channel

To reset an entire channel strip to its default settings:

 Right-click the on-screen channel fader and choose Reset
Strip.

Input Channel Presets window

Input Channel Presets
To preview and recall a saved Channel Preset:
Input channel configuration (input name, gain, fader levels,
1 Navigate to the Inputs page for the desired channel. Chan-
send levels and bus routing) can be stored and recalled as In-
put Channel Presets. Input Channel Presets can be previewed, nel Presets can only be loaded into a single channel at a time.
recalled and transferred just like other VENUE preset files, let- 2 Click the Channel Presets icon.
ting you quickly configure channels from among a library of
3 If necessary, click the Folders icon and select the appropriate
favorite setups.
Channel Presets folder from the pop-up menu.
When an Input Channel is stored or recalled as a preset, all pa-
4 Do any of the following:
rameters are affected except the following:
• To preview an existing Channel Preset, click its name in
• Patchbay assignments, including Direct Outs
the Channel Presets window.
• Hardware and software insert (plug-in) assignments and
• To load the currently selected Channel Preset, press Enter
in/out state.
or click the Close box (X) in the Channel Presets window
Selecting a channel preset automatically loads the saved title bar.
settings into the selected channel. Depending on the stored • To cancel without changing settings, click Cancel.
settings this may dramatically change channel level and
signal routing. Use caution when previewing Input Channel To rename, duplicate, overwrite or delete a Channel Preset:
Presets with a live source.  Right-click the preset name in the Channel Preset window
and choose Rename, Duplicate, Delete, or Overwrite.

54 VENUE Profile 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 ste-
reo 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 1–2 linked, but the current console con-
figuration has these Auxes unlinked. When the preset is re-
called 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 soft-
ware.

For more information, see Chapter 20, “Shows and File

Management.”

Chapter 5: Navigating and Selecting Channels 55

Chapter 6: Options

The Options page provides several tabs. Of these, the System

and Devices tabs are where most system configuration settings System
and options are enabled and customized: (System Configuration)
• The System screen provides the primary tools by which
you configure mixing, routing, and processing options. The System page lets you allocate DSP resources used for rout-
ing and processing, configure Mains and Aux/Group busses,
• The Devices screen provides status, diagnostics, and op-
reset the system (clear console), and quit (shut down VENUE).
tions for hardware components.

This chapter shows you how to manage the most important To access the System Config page:
System and Devices settings, and describes the settings avail-  Go to the Options page and click the System tab.
able in other Options screens.

Basics of Editing System Settings

Overview of Options
Settings available in the System screen can only be edited
The Options page provides the following tabs: while in Config mode.
• “System” on page 57
Changing the system configuration will restart the system
• “Busses” on page 60
software and may interrupt audio.
• “Pickoffs” on page 61
• “Snapshots” on page 62 In Config mode, the Edit button becomes available to let you
• “Misc” on page 63 change settings. When a System Config setting is changed, the
Apply button becomes available at the right of the screen to
• “Interaction” on page 64
let you confirm and apply changes.
• “Devices” on page 59
• Chapter 22, “Events”
Edit
• Plug-Ins (see “Installing and Authorizing Plug-Ins” on
page 151) System Configuration tab of the Options page

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

To display the Options page, do one of the following:
these settings from being changed during a performance
 Press the Options switch in the View Mode section. (since changes to these settings can interrupt audio).
– or –
To change a System Config option:
 Click the Options tab on-screen.
1 Put the system in Config mode.
To display different tabs of the Options page, do one of the 2 Go to the Options page and click the System tab.
following:
3 Click Edit.
 Press the Options switch repeatedly to cycle through avail-
able tabs. 4 Change a System Config, Main Bus, Inputs or Bus Configu-

– or – ration option.

5 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 the Standalone

software.

Chapter 6: Options 57
 System Configuration Settings FX Returns
The System Configuration section shows the current alloca- Choose the number of FX Return channels you need (8 or 16).
tion of system resources.
Graphic EQs
In Show mode, the System Config area is display-only. In
Config mode, you can edit the system configuration to allo- Choose the number of Graphic EQs needed for output pro-
cate resources for mixing and processing. cessing. You can choose to have 0, 8, 16, or 24 Graphic EQs.
Choosing a lower number leaves more DSP for plug-ins.
To change a System Configuration setting:
1 Put the system in Config mode. DSPs Available for Plug-Ins

2 Click the Edit button on-screen. The amount of DSP available for plug-ins depends on the
number of Mix Engine cards installed in your FOH or Mix
3 Choose a new setting for Input Channels or Graphic EQs.
Rack, and the current system settings for Input Channels, FX
4 Click Apply to confirm the settings. Returns, and GEQs. To increase the amount of DSP available
for plug-ins, reduce the number of Input Channels or Graphic
EQs, or add additional Mix Engine cards.

Main Bus Settings

The Main Bus Settings let you configure the Main mix bus. See
“Configuring Aux, Group, and Variable Group Busses” on
Designating the number of Input Channels page 80.

Mix Engines
The Mix Engine setting is determined by the number of DSP
Engine Cards detected in the system rack (Mix Rack, or
FOH Rack). Mix Rack comes supplied with two Mix Engines
and can be expanded with one additional Mix Engine (total of
3, maximum). FOH Rack comes with three and can be ex- Main Busses options in the System page
panded to include up to 5 Mix Engine cards.
L–R plus Mono

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

Choose the total number of Input Channels you need. This

L–C–R
number represents mono input processing channels (not
hardware input jacks); each stereo channel uses two mono This setting enables L–C–R mode, which lets you mix in
channels. “3-across-the-front” mode.
• You can configure a VENUE Mix Rack system to use 16,
Changing the Main Bus mode will restart the system soft-
24, 32, 48, or 64 input processing channels.
ware and may interrupt audio.
• You can configure a VENUE Profile system to use 16, 24,
32, 48, 64, 80, or 96 input processing channels (higher To change the Main Bus configuration:
settings require two Stage Racks).
1 Put the system in Config mode.
Choosing a lower number of Input Channels leaves more DSP
2 Go to the Options page and click the System tab.
for plug-ins, while choosing a higher number reduces the
amount of DSP available for plug-ins. 3 Click Edit.

4 Click to choose a Main Bus mode.

On VENUE Mix Rack systems, choosing the highest
number of input processing channels (64) lets you use 5 Click Apply; the system restarts.
“extra” input processing channels for advanced mon-
itor mixing workflows. For more information, see
“Multiple Input and Output Assignments in the
Patchbay” on page 112.

58 VENUE Profile Guide

Bus Configuration Settings To change the Aux/Group Bus Configuration:
1 Put the system in Config mode.
The Bus Configuration Settings let you choose the Aux and
Group/Var Group busses configuration. See “Configuring 2 Click the Edit button on-screen.
Aux, Group, and Variable Group Busses” on page 80.
3 Click to select a Bus Configuration option.

4 Click Apply; the system restarts.

Devices
Bus configuration settings in the System page The Devices page lets you view system connections, trouble-
shoot hardware and reset VENUE system components.

To display the Devices tab:

 Click Options > Devices.

Devices tab of the Options page

You can use this page to view component status after diagnos-
tics or troubleshooting.

To reset VENUE system hardware components:

1 Put the system in Config mode.

2 Go to the Options page and click the Devices tab.

3 Right-click any of the following hardware components:

• Console sections
• Racks (Mix Rack, FOH Rack or Stage Rack)

4 Choose Reset.

Simulating a VENUE Configuration with the

Standalone Software
With the VENUE Standalone software, you can use the De-
vices page to simulate a VENUE system of any size for pur-
poses of preparing shows and training. See “Simulating a
VENUE Configuration” on page 224.

Chapter 6: Options 59
 5 Click Apply to reconfigure the system, or click Cancel to exit
Other Options and Settings without changing system settings.

For more information, see Chapter 10, “Aux Sends and

Busses
Variable Groups.”
The Busses page lets you customize characteristics for the Aux,
Solo, Matrix, and Main busses. Solo and Monitor Operations
These settings customize Solo and Monitor (cue) bus mode
and operation.

Solo controls in the Options > Busses page

Type Solo mode choices include PFL (Pre-Fader Listen), Stereo

Busses tab of the Options page AFL (After-Fader Listen), and Solo-In-Place.

Auxiliaries and Variable Groups Level Trim Mirrors the functionality of the Solo/PFL level con-
trol on the control surface.
These options let you designate bus link status, pick off source,
and stereo pan behavior for Auxiliaries (Aux Send busses). Monitoring Sets the level of the Headphone and Monitor out-
puts.
Links When enabled, this option links the corresponding bus-
ses into bus pairs. Control changes affect both mono Aux bus- Delay Sets a delay for time-aligning headphones and near-field
ses, and the Follows Channel Pan option becomes available. monitors to the house system.

Pickoff These options let you designate the pre-fader pickoff Auxes/Var Groups Follow AFL Puts the controls for an Aux
point feeding each bus. Choices include pre-EQ, pre-mute, Send or Variable Group Send on the input channel encoders
and pre-fader (post-mute). whenever the AFL switch is pressed on that Aux or Var Group
bus.
Follows Channel Pan Each channel can be panned indepen-
dently within each linked bus pair, or configured to follow the AFL Follows Auxes/Var Groups Soloes the Aux (or Variable
channel pan by enabling the Follows Channel Pan option. Group) bus that is currently assigned to input encoders.

Auto Cancel Soloing a channel strip automatically takes any

To change the Aux bus configuration:
currently soloed channels out of solo.
1 Put the system in Config mode.
Input Priority Makes soloed inputs temporarily replace soloed
2 Go to the Options page and click the Busses tab. output busses on the AFL/PFL bus.
3 Click Edit.
Mix to Monitors Mirrors the functionality of the Mix to Moni-
4 Configure the following settings: tors switch on the control surface.
• To link two mono Aux busses into a bus pair, select the
Cue on Mains Fader Puts control of the Monitor bus level to
Link option for the corresponding pair.
the Mains fader.
• 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).

60 VENUE Profile Guide

To configure Solo settings on-screen: Pickoffs
1 Go to the Options page and click the Busses tab.
The Pickoffs page lets you control the bus pickoff point on in-
2 Configure settings as needed: put strips, as well as specify source and insert points for output
busses. The Pickoffs page also provides master control for De-
To adjust Monitor Bus Delay, do one of the following: lay Compensation.

 Adjust the Delay encoder on-screen.

 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.

For more information, see “Solo and Monitor Busses” on

page 119

Matrixes
Pickoffs tab of the Options page
The Matrixes section lets you link and unlink Matrix to form
stereo Matrix busses. Pickoff options are explained throughout this guide where rel-
evant.
Links When enabled, these options link corresponding mono
Matrix busses into stereo-linked pairs. Control changes then
affect both mono Matrix busses.
Settings for Delay Compensation
The Options > Pickoffs page provides three settings for Delay
For more information on these features see Chapter 11,
Compensation: Off, Mix Only, and Mix and Inserts.
“Matrix and Personal Q Mixers.”
Off No Delay Compensation is applied.
Panning/Center Divergence
Mix Only VENUE automatically compensates for delays in-
The Panning section provides control over center channel di- curred by the use of Groups routed to the Mains busses.
vergence when the Main Bus is set to L–C–R mode. See “Main
Bus Center Divergence Options” on page 85. Mix and Inserts VENUE automatically compensates for delays
incurred by the use of plug-ins as well as those incurred by the
To set Center Divergence: use of Groups routed to the Mains busses.

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

press Enter.

Stereo Group Panning Operation

The Stereo Group Panning Operation options provide differ-
ent levels of flexibility for how channels can be routed to
Groups.

To change Stereo Group Panning Operation:

1 Put the system in Config mode.

2 Click to select Simple or Expert mode.

For more information on these options, see “Simple and Ex-

pert Operational Modes” on page 93.

Chapter 6: Options 61
 Snapshots Aux Mon and Aux FX
The Snapshots page provides several snapshot preference set- These settings let you classify individual Aux Sends (including
tings to optimize Snapshot operation. 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 and Var Group Sends
for snapshot control only, and does not directly affect Aux bus
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.
Snapshots tab of the Options page
Start Time This option sets the start time that is used when
Snapshot General Preferences generating MTC.
The following settings are available in the Snapshots page.
MIDI
Center Last Recalled Snapshot Manages the display of the
Snapshots list so that the last recalled snapshot is always cen- Designates the channel on which snapshots send or receive
tered vertically, letting you maintain display of adjacent snap- MIDI Bank Select and Program Change information.
shots in the list.
See Chapter 23, “Synchronization.”
Crossfade
Snapshots Send on Channel This option sets snapshots to send
All snapshots provide a Crossfade setting that determines how Bank Select and Program Change commands on a selected
long scoped faders will crossfade to the stored values in that MIDI channel. This provides a quick and easy way to send a
snapshot when it is recalled. The Options > Snapshots page MIDI command every time a snapshot is fired, without having
provides Snapshot General Preference settings for optimizing to embed a MIDI program change within each snapshot.
crossfades between snapshots.
Snapshot Send on Channel does not need to be turned on in
Default Time Defines a (fader) Crossfade time to apply to all order to send other types of MIDI data that are embedded in
new snapshots. snapshots, such as note on/off or MMC.

Pan, Balance & Width Enables pan, balance and width on Snapshots Respond to Channel This option sets snapshots to
scoped channels to crossfade. respond to incoming Bank Select and Program Change com-
mands on the selected MIDI channel.
For more information, see Chapter 21, “Snapshots.”
MIDI Snapshot Output Safe Safes (shuts off) VENUE MIDI out-
PRE put when snapshots are recalled. This does not affect sending
of Bank Select and Program Change commands with the Snap-
The options in the PRE section let you specify which parame- shots Send on Channel option.
ters are recalled with Snapshots whose scope includes Pre set-
tings. Click to toggle whether recalled Input snapshot data in-
cludes the following:
• Gain, Pad, and Phase
• +48V (phantom power)
• HPF

Delay is stored as a unique (discrete) data type for each

channel.

62 VENUE Profile Guide

Misc Routing Osc, 2-Track and Talkback
The Miscellaneous page provides utility and other settings. Use the Patchbay to assign the Oscillator, 2-Track inputs, or
Talkback input to an Input or FX Return fader.

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:

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

2 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 fo-
cussed on the currently selected Output channel).
Misc tab of the Options page
3 In the confirmation dialog that appears, click Route to con-
Oscillator firm your assignment or click Cancel to cancel without chang-
ing the current routing.
Lets you choose the tone, frequency, and level for the built-in
oscillator, and route it to an available output. For more information, see Chapter 12, “Patchbay.”

Signal Lets you choose the type of oscillator tone to use.

Choices include sine, variable sine, and noise. System Clock
Sets the date and time for the system.
Frequency Lets you set the oscillator frequency.

Route Enables Route Osc to Selected mode, to assign the oscil- Time of Day in Status Display
lator signal to the currently selected output channel(s).
You can choose to show time of day in the lower right corner
of the screen in the Status display area. This optional display
2-Track can be configured for either 12 hour (AM/PM) or 24 hour for-
Lets you set the level and input source for the 2-Track analog mat as follows:
and digital inputs, and route them to the desired outputs.
To show time of day in the Status area:
2-Track Level Lets you activate 2-Track input and set 2-Track
1 Go to the Options > Misc page.
input level.
2 In the System Clock section, enable the Show Time in Status
2-Track Input Selects which 2-Track input (analog, or digital) is Area option.
fed to the monitors and output busses.
3 Select a format for the displayed time: 12 hour (AM/PM) or 24
Route Enables Route 2-Track to Selected mode, to assign the hour.
2-Track signal to the currently selected output channel(s).
Time of day is shown whenever the status of the plug-in racks
is OK; plug-in rack status messages (if any) temporarily replace
Talkback
time of day display to alert you to plug-in rack status.
Talkback Level Lets you activate Talkback and set Talkback in-
put level. Channel Delay
Talkback Dim Level Sets the dim level, which is the amount of Lets you set the display units on all applicable input and out-
attenuation applied to the mix on the output bus when Talk- put delay controls. This makes it possible to set the delay
back is activated. based on any of the following:
• delay time (in milliseconds)
Route Enables Route Talkback to Selected mode, to assign the
Talkback signal to the currently selected output channel(s). • distance to the source (in feet or meters)
• number of samples of delay

Chapter 6: Options 63
 Tap Tempo Interaction
Lets you set the global system tempo, toggle system tempo The Interaction page lets you configure behaviors for the Se-
on/off, and choose to display tempo in BPM or ms. lected Channel (ACS) sections, Input Safe Switches, Lights,
Meter, Ethernet, and LCD Display.
On Turn on the global tempo sync by clicking the On switch
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 Milliseconds

as the units for displayed values.

Units On/Off
Tap Tempo controls in the Options > Misc page

For more information, see “Tap Tempo for Plug-ins” on Interaction tab of the Options page
page 213.
Assignable Channel Selection
Mouse Options in this section set the mechanism by which channels
Pointer Speed and Mouse L/R Settings are targeted on the Selected Chan sections (also known as the
ACS, or Assignable Channel Section).
You can customize the response speed for the trackball (or
mouse) and on-screen cursor, and reverse the left/right assign- To customize console and screen interaction:
ment of the Trackball buttons, from the Options > Misc page.
1 Go to the Options page and click the Interaction tab.

To customize Pointer Speed: 2 Set the following Assignable Channel Selection options:
1 Go to the Options > Misc page.
Change Target By
2 Do any of the following:
The Change Target By options let you specify whether the fol-
• To adjust cursor speed, click the Pointer Speed pop-up
lowing actions target a channel on the ACS. More than one
menu and choose a higher value for faster response, or a
option can be selected simultaneously.
lower value for a slower response.
• Touching Input Faders
• To reverse the left/right assignment of the two Trackball
buttons, click to enable Switch Buttons. • 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.

64 VENUE Profile Guide

Meter Ethernet Control
Metering settings provide the following options for meter bal- Ethernet Control settings let you configure the following:
listics, peak, and clip indication.
Network Settings These settings let you configure ECx Ether-
Ballistics This option lets you choose RMS or Peak ballistics net Control to remotely control VENUE over a wireless Ether-
for the control surface and on-screen meters. net network.

Input Clip Margin and Output Clip Margin These options set the Control Settings These settings let you configure VENUE Link
level, relative to the maximum (full scale) level, at which a clip to integrate a Pro Tools system with VENUE.
is reported on a channel. When a clip is detected, the entire
channel meter turns red. For more information about ECx Ethernet Control, see
Chapter 30, “ECx.” For information about VENUE Link,
To set Input or Output clip margin: see the Live Recording Guide.

1 Click in the dB Below Max edit box for Input Clip Margin or Lights
Output Clip Margin.
Console and LED/Display settings let you adjust the bright-
2 Enter a value or drag to change the value and press Enter. ness of the following items:
The entered value is interpreted as a relative dB value from the Console Lights Adjust brightness of external lights connected
maximum (where “Max” is considered +20 dBVU). For exam- to the Console Lights connectors on the back panel.
ple, with the Input Clip Margin set to 6 dB below max (the de-
fault), peak levels within 6 dB of maximum level will trigger a LEDs and Displays Adjust brightness of LED and LCD displays
clip indication on the control surface.

Clip Hold Time and Peak Hold Time These options specify how
Displays
long clips and peaks are held. Default is 2 seconds for both
Clip and Peak hold. These options let you customize the behavior of the control
surface LCDs.
Input Safe Switches
Viewing Angle This option lets you configure the Selected
The Input Safe Switches let you control three independent Channel and Snapshots LCD displays for optimum viewing.
Safe functions: Automation Safe, Solo Safe, and Bank Safe.
Show Channel Strip Value While Moving Fader This option de-
Only one of these Safe functions can be viewed and controlled
termines what is displayed in the Channel Name display
at a time.
when a fader is adjusted. When selected (default), the Chan-
Act as Automation Safes When selected, this option sets the nel Name display switches from showing channel name to
console Safe switches and on-screen channel Safe buttons to showing the value (level) when a fader is adjusted. When de-
toggle the Automation Safe status of the corresponding chan- selected, the Channel Name displays do not show values
nel. For more information, see Chapter 21, “Snapshots.” when a fader is adjusted.

Act as Solo Safes Solo Safe applies only to Input Channels Show VCA Contribution This option lets you display a second-
and FX Returns. When selected, this option sets the Safe ary, transparent fader cap on each on-screen fader strip that
switches to toggle the Solo Safe status of the corresponding represents the effective gain of the channel (channel gain plus
channel. See “Solo Bus Operation” on page 121. associated VCA gain, if any). For more information, see “As-
signing and Using VCAs” on page 86.
Act as Bank Safes When selected, this option sets the Safe
switches of Input Channels and FX Returns to toggle that
channel’s Bank Safe Status. (Bank Safe keeps channels at the
top fader layer, immune to input banking.) For more informa-
tion, see “Bank Safe Mode for Input Safe Switches” on page 46.

Chapter 6: Options 65
 Events
The Events tab of the Options page lets you use the Event List
to customize the function of switches, footswitches and Gen-
eral Purpose Interface (GPI)-connected devices. For informa-
tion, see Chapter 22, “Events.”

Options > Events page

Plug-Ins
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 com-
plete VENUE systems only. It is not available in the Stand-
alone software.

66 VENUE Profile Guide

P
artIII:S
ign
alR
outin
g
Chapter 7: Inputs and Input Routing

This chapter shows how to do the following: 5 Click Apply. The system restarts with the new Input Channel
• Configure inputs (system settings for input channels), configuration.
name channels, Make Stereo and Split to Mono)
Audio will be interrupted when this configuration change
• Assign input sources to Input Channels in the Patchbay
is applied.
• Route input channels to Mains, Groups, and Aux Sends,
to Matrix mixers and other output busses, and to plug-ins Configuring FX Returns
• Adjust input channel parameters
VENUE Mix Rack and Profile systems provide up to 16 stereo
FX returns. You can choose to use either 8 or 16; choosing
fewer FX Returns leaves more DSP available for plug-ins. For
Configuring Inputs details, see “Configuring FX Returns” on page 69.

Two types of inputs are available: Input Channels and FX Re-

turns. Combining Input Channels (Make Stereo)
Pairs of mono input channels can be combined to make stereo
Input Channels channels, whose left and right sides are then controlled by
one input channel strip.
Input Channels are used to control inputs from stage and mix
position (local) audio inputs, from Pro Tools, or from bus-fed
To combine two mono input channels into a single stereo
plug-ins.
channel:
Input channels can be mono or stereo. Each mono channel 1 Put the system into Config mode.
controls one input, and each stereo channel controls two in-
puts in tandem. Input channels can appear on any of the in- 2 Select two mono channels by doing either of the following:

put channel strips. Up to 96 mono input channels, maximum, • On the console, press and hold the Multi-Select switch,
are available, depending on your system and rack configura- then press Select on each of the two mono channel strips
tion. Input channels are displayed in banks on the 16 control you want to combine.
surface input channel strips. – or –
• On-screen, go to the Inputs page and click a fader strip to
FX Returns select the first mono channel, then hold Shift and click
to select the second mono channel you want to combine.
Effects Return channels (or FX Returns) are used to control sig-
nals from bus-fed plug-ins, from external hardware, or from 3 Right-click either of the selected mono channels on-screen
Pro Tools. and choose Make Selected Mono Strips Stereo.

FX Returns are always stereo, and appear on input channel

strips 1–8 and 9–16. Up to 16 stereo FX Returns are available.

Configuring Input Channels

To set the number of available Input Channels:

1 Put the system into Config mode.

2 Go to the Options page and click the System tab.

Two mono inputs about to be combined into one stereo channel
3 Click Edit.

4 Choose the number of channels from the Input Channels

pop-up menu.

Chapter 7: Inputs and Input Routing 69

 Each selected channel is combined with the next-highest se-
lected channel, even if the selected channels are not contigu- Assigning Input Sources to Channels
ous. Blank strips are created and inserted where necessary to
Inputs sources are assigned to Input Channels or FX Returns
maintain channel layout in that bank. Parameter values from
in the Patchbay. Available input sources for Input Channels or
the leftmost channel of each pair are applied to both chan-
FX Returns include:
nels, and the pan control becomes a Balance/Width control.
• Stage inputs (Mix Rack stage I/O, or Stage Rack)
Combined channels are shown in the patchbay as left and • Local FOH inputs (2-Track sources, Talkback, Oscillator)
right sides of the Input Channel name. FX Returns are always • Pro Tools outputs (HDx or FWx)
stereo, so they cannot be combined or split.
• Plug-In outputs

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

1 Go to the Patchbay page and click the Inputs tab.

2 To the left of the channel grid, click the Channels tab or the
Stereo Input Channel in the Patchbay Input page FX Returns tab.
On the console, the channel St (Stereo) LED lights to indicate 3 Click the Stage, FOH, or Pro Tools tab to display the desired
that a channel is a stereo channel. type of input sources.

To split a stereo channel into two mono channels: 4 Click in the channel grid to assign an input source to an In-
put Channel or FX Return.
1 Put the system into Config mode.

2 Select the stereo channel you want to split.

3 Right-click the selected channel and choose Split Selected

Stereo Strip to Mono.

Each selected stereo channel is split, placing the channels next

to each other on the console and in the Patchbay. Blank strips
are deleted to maintain channel layout.

Assigning input sources in the Patchbay Inputs page

Naming Channels
The Inputs tab of the Patchbay shows the input source and
Input Channel and FX Return channel names can be changed destination above the grid. Input source is also shown below
from the Inputs page or from the Patchbay. the channel name in the Inputs and Patchbay Inputs page.

To change the name of an Input Channel or FX Return channel:

1 Go the Patchbay page and click the Inputs tab.

2 Target the channel whose name you want to change by Input source assignment shown in the Inputs page
pressing its Select switch or selecting it on-screen.
A single input source can be assigned to multiple Input Chan-
3 Double-click the channel name. nels or FX Returns (you can fan out a source to multiple chan-
nels). 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).

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

Changing the name of an Input Channel in the Inputs page
Bus-fed plug-ins can be patched to Input Channels and FX Re-
4 Type a new name and press Enter on the computer key-
turns from the Plug-In Rack (see “Using Plug-Ins as a Bus Pro-
board.
cessor” on page 160).
When naming channels in the Patchbay, you can dou-
You can also route the built-in Oscillator, Talkback input, and
ble-click the channel name shown in the columns of the
2-Track sources to input channels (see “Routing the Oscilla-
grid and type a name; press Tab on the keyboard to go to the
tor” on page 128).
next channel and Shift+Tab to go to the previous channel.

70 VENUE Profile Guide

 Routing Channels to Aux Sends
Routing Input Channels
Input channels and FX Returns can be routed to Aux sends us-
Input channels and FX Returns can be routed to the Mains, ing the input encoders, using the ACS, or on-screen.
Groups/Var Groups, Auxes, Matrix mixers and PQ busses.
To route channels to Aux sends using the input encoders:
Routing Channels to the Mains and 1 Press an Encoder assign Send switch 1–2 through 15–16.
Groups Busses • The first press of an Aux Send switch assigns level control
Input channels and FX Returns can be routed to the Mains of the odd-numbered send to the encoders. The switch
and Groups busses using the Bus Assigns section of the ACS. lights green to indicate an odd-numbered selection.
• The second press of an Aux Send switch assigns level con-
To route one or more input channels to Mains and Groups busses trol of the even-numbered send to the encoders. The
on the console: switch lights yellow to indicate an even-numbered selec-
1 Do either of the following:
tion.

• To select a single channel, press its Select switch.

• To select multiple channels, press Select on the first chan-
nel, hold the Multi-Select switch (located to the left of
Encoders
the input faders), then press the Select switches on the
other channels.

2 To route to Mains, press the L–R (left and right) and/or Aux
C/Mono (center/mono) switch in the Bus Assigns section so Sends
that is lit.
– or –

 To route to a Group bus, press a Groups 1–8 switch.

The L–R, C/M and 1–8 Bus Assign LEDs on each channel light
to indicate routing to the corresponding busses. Encoder assignment switches for input channels

2 For each channel you want to assign to the selected Aux

Send bus, press its channel encoder so that its “On” indicator
LED lights.
Mains
3 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
Groups fader.

To route channels to Aux Sends busses using the ACS:

1 Do either of the following:
• To select a single channel, press its Select switch.
Stereo Pan • To select multiple channels, press Select on the first chan-
nel, hold the Multi-Select switch (located to the left of
Bus Assign switches
the input faders), then press the Select switches on the
To route channels to Mains or Groups on-screen: other channels.

1 Select one or more channels. 2 In the Aux Sends section, press the Aux 1–8 or 9–16 switch
to bank it to the corresponding pairs of Aux Sends.
2 Go to the Inputs page.
3 Press an Aux Sends encoder to enable that send.
3 Click the Bus Assign buttons to route to those busses.
4 Rotate the encoder to adjust that send level.
For information on configuring the system Mains as L–R
plus Mono, or as L–C–R, see “Configuring Aux, Group, and
Variable Group Busses” on page 80. For more information
on configuring Group busses, see “Configuring Aux, Group,
and Variable Group Busses” on page 80.

Chapter 7: Inputs and Input Routing 71

 Configuring Aux Busses (Aux Sends) 5 Press the Multi Assign switch again to confirm the action.

VENUE systems can be configured to have 8 or 16 Aux busses – or –

as part of the overall Aux/Group bus configuration. Mono Aux
Select another VCA to confirm the current assignment but re-
buses can be linked in odd/even pairs to function in stereo (see
main in Multi Assign mode for the newly targeted VCA.
“Configuring Aux and Variable Group Busses” on page 95).
For more information on VCAs, including using VCA spill, see
Routing Channels to Variable Groups “Assigning and Using VCAs” on page 86.

To access Variable Group sends:

Routing Inputs to Direct Outputs
1 Make sure the system is configured for Variable Groups
All Input channels and FX Returns have Direct Outputs,
mode. (See “Configuring Aux, Group, and Variable Group
which can be assigned to hardware outputs, used as inputs to
Busses” on page 80.)
plug-ins, and sent to Pro Tools. Direct Outs are assigned in the
2 Select one or more input channels. Patchbay, and can be controlled from the ACS or on-screen.
3 Press the Variable Groups switch in the Aux Sends section of
the ACS. Or, click the Var Groups button in the on-screen Bus To enable and adjust Direct Outputs:
Assign section (on the Inputs page for the selected channel). 1 Select the input or FX return channel.
Variable Groups 1–8 are now mapped to the ACS Aux Send
2 Press the Direct Output encoder to toggle it in and out on
section, and from the assignable input encoders 1–8.
the selected channel.
4 Press an encoder to enable the selected (Var Group) Aux
3 Rotate the Direct Output encoder to adjust the output level.
Send.

5 Rotate the encoder to adjust send level.

6 For more information, see Chapter 10, “Aux Sends and Vari-
able Groups.”
Direct Output encoder

Routing Channels to Matrix and PQ Busses For more information on routing and assigning Direct Out-
puts, see “Direct Outputs” on page 85.
Matrix and PQ source assignments determine input signal
routing to each of the Matrix and PQ mixers. Matrix and PQ
source inputs can include up to 12 inputs per mixer.
Using Built-In Dynamics and EQ
Matrix and PQ signal routing is performed from the Matrix
and PQ tabs of the Outputs page (see Chapter 11, “Matrix and Each Input Channel has built-in Dynamics processors, a
Personal Q Mixers”). 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 pro-
cessor controls are linked and apply to both the left and right
Assigning Channels to VCAs sides of the channel.
Channels can be assigned to VCAs for consolidated control of
multiple channels. Using Dynamics on Channels
To assign one or more channels to a VCA: A built-in Compressor/Limiter and Expander/Gate are avail-
able on each Input Channel. Controls for all of the built-in dy-
1 Press the VCA switch to bank the Output Faders to VCAs.
namics processors are provided in the ACS Dynamics section,
2 Select the VCA (1-8) you wish to assign to by pressing its Se- and an input/output curve appears on-screen.
lect switch.

3 Press the Multi Assign switch near the Output encoders.

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

4 Press the Select switch on the inputs or outputs you want as-
signed to the currently targeted VCA. Use the Input and Out-
put Fader bank switches to access the desired channel strips.

72 VENUE Profile Guide

Compressor/Limiter To adjust Expander/Gate controls from the ACS:
1 Target a channel by pressing its Select switch.
To engage the built-in Compressor/Limiter on the selected
channel: 2 Press the Select switch next to the Exp/Gate In switch and
meter in the ACS Dynamics section. The switch lights to indi-
 Press the Comp/Lim In switch in the ACS Dynamics sec-
cate control of the Expander/Gate, and indicator LEDs below
tion.
each encoder light red to show that these controls are mapped
to Exp/Gate functions.
To engage the built-in Compressor/Limiter on any input channel:
1 Bank to the desired channels.
Using EQ on Channels
2 Press the Comp Thrs switch to assign the input encoders to
A built-in High-Pass Filter and 4-band EQ are available on each
the built-in Compressor/Limiter.
Input Channel and a 2-band EQ is available on each FX Re-
3 Push the assignable encoder on each channel you want the turn. Modular controls for all of the built-in EQ processors are
built-in Compressor/Limiter engaged. in the ACS EQ section, and an EQ response curve appears
on-screen.
To adjust the Compressor/Limiter threshold from a channel:
One of two EQ types can be selected for the built-in EQ, on a
1 In the Encoder Assignment section, press the Comp Thrsh per-channel basis: a full-spectrum parametric digital EQ or an
switch. analog-modeled EQ.
2 Turn the assigned rotary encoder to set the Compres-
sor/Limiter threshold value. To use the built-in EQ on a channel, do one of the following:
1 Target the channel by pressing its Select switch.
To adjust Compressor/Limiter controls from the ACS:
2 Do any of the following:
1 Target a channel by pressing its Select switch.
• To engage the channel High-Pass Filter, press the HPF
2 Press the Select switch next to the Comp/Lim In switch in switch in the Encoder Assignment section. Toggle HPF
the ACS Dynamics section. The switch lights to indicate con- in/out on each channel by pressing its encoder; adjust
trol of the Compressor/Limiter. HPF frequency by rotating its encoder.
• To engage the built-in 4-band or 2-band EQ, press the
Expander/Gate EQ In switch at the bottom of the ACS Equalizer section.

For more information, see Chapter 17, “EQ.”

To engage the built-in Expander/Gate on the selected channel:
 Press the Exp/Gate In switch in the ACS Dynamics section.

Using Inserts on Channels

To engage the built-in Expander/Gate on any input channel:
1 Bank to the desired channels.
You can use software plug-in inserts or hardware inserts on
any Input Channel or FX Return.
2 Press the Gate Thrs switch to assign the input encoders to
the built-in Expander/Gate.
Using Plug-In Inserts on Channels
3 Push the assignable encoder on each channel you want the
built-in Expander/Gate engaged. 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 pro-
To adjust the Expander/Gate threshold from a channel: cessor. Plug-Ins can be used in two ways: as inserts, or as ef-
fects in a Send/Return arrangement.
1 In the Encoder Assignment section, press the Gate Thrsh
switch. Insert The plug-in is patched in at the insert point on an Input
Channel or FX Return. Each Input Channel may have up to
2 Turn the assigned rotary encoder to set the Expander/Gate
four plug-in inserts.
threshold value.
Send/Return Signal is sent to the plug-in over any of the sys-
tem busses (usually an Aux Send) and routed back to an Input
Channel or FX Return.

For more information on using plug-ins in a Send/Return ar-

rangement, see “Using Plug-Ins as a Bus Processor” on
page 160.

Chapter 7: Inputs and Input Routing 73

 Inserting Plug-Ins on Channels To assign a hardware insert to an input:

You can insert plug-ins on Input Channels and FX Returns di- 1 Go to the Inputs page and target the channel where you

rectly from the Inputs page or from the Plug-In Rack. want to assign the hardware insert.

2 In the Inserts section of the Inputs page, do one of the fol-

See Chapter 18, “Plug-Ins.”
lowing:
To insert a plug-in on a channel: • Click the Hardware Insert pop-up menu and choose an in-
sert destination directly from the menu.
1 Go to the Inputs page and target the channel where you
want to insert the plug-in. – or –
• Click the Hardware Insert button to go to the Inserts page
2 In the Inserts section of the Inputs page, do one of the fol-
of the Patchbay, and assign the insert from the Patchbay.
lowing:
• Click one of the four Plug-In Insert pop-up menus and
choose a plug-in directly from one of the Plug-In Rack Click to Click to
submenus. assign go to the
Patchbay
– or –
• Click one of the four Plug-In Insert buttons to go to the
Plug-In Rack, and route the signal to the plug-in using
Plug-In Rack controls. Assigning a hardware insert in the Inputs page

The name of the hardware insert destination appears in the

on-screen Hardware Insert button.
Click to Click to
assign go to the
Plug-In Setting the Hardware Insert Location
Rack
You can choose the location of the hardware insert in the sig-
nal path, relative to the four plug-in inserts, for each channel.
Assigning a plug-in insert in the Inputs page
A hardware insert does not need to be currently assigned to do
The name of the plug-in insert appears in the on-screen this.
Plug-In Insert display.
To set the hardware insert location:
Using Hardware Inserts on Channels 1 Go to the Inputs page and target the channel where you
want to set the hardware insert location.
You can insert external processors in the signal chain of Input
channels and FX Returns. 2 In the Inserts section of the Inputs page, click the hardware
insert indicator so that it lights red.
Outputs also provide hardware inserts. For more informa-
tion, see “Using Inserts on Output Busses” on page 82.

Assigning Hardware Inserts to Inputs

You can assign hardware inserts to Input channels and FX Re-
turns directly from the Inputs page or from the Patchbay.

Click to set
HW Insert
location

Setting a hardware insert location in the Inputs page

74 VENUE Profile Guide

Activating and Bypassing Inserts Setting Input Gain
After hardware and plug-in inserts are assigned, they can be Gain can be controlled from individual channel strips or from
activated and bypassed from the from the ACS section or the the ACS section.
corresponding Input page controls.

To activate or bypass a plug-in insert from the ACS section:

1 Target the channel by pressing its Select switch. Gain Pan
2 Press any of the Plug-In switches in the Insert Processing sec-
Compressor Gate Threshold
tion to activate or bypass the corresponding Insert. The switch Threshold
lights when the insert is activated. HPF Delay

To activate or bypass a hardware insert from an input channel or

Encoders (1–24)
FX Return:
1 Go to the Inputs page and target the channel.

2 Click the In/Out switch for the HW insert (at the top of the
Inserts section) on the channel. The switch lights when the in-
sert is in-circuit.

Name display
Assignment switches for input channel encoders
Adjusting Input Controls
Clip LED
Input Gain +48 V 20 dB Pad

Input Gain is adjustable from the rotary encoders on each In- Input Polarity
put 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

Gain Guess Feature

Safe
The automated Gain Guess function can be used to set a nom-
inal level for a channel based on its incoming signal. When Input controls in the ACS
you press and hold a rotary encoder assigned to input gain,
To adjust input gain for a channel:
the system samples incoming signals and automatically sets
the channel gain and pad for a 0 dB reference when the en- 1 Do one of the following:
coder is released. Gain Guess follows the current Meter mode • In the Encoder Assignment section, press the Gain switch
(Peak or RMS). to assign gain control to the rotary encoders.
– or –
Gain Indicators • Target the channel by pressing its Select switch. Gain
When Gain is displayed on the input encoders, the encoder’s control for the channel is assigned to the Gain rotary en-
indicator LED lights to indicate that the gain is set to the de- coder in the ACS Input section.
fault value (+10 dB for analog inputs, and 0 dB for digital in- 2 Adjust gain by turning the assigned rotary encoder.
puts). Gain change is indicated by the encoder ring LEDs, and
gain value is shown in the channel display when adjusted.

Chapter 7: Inputs and Input Routing 75

 To set input gain using the Gain Guess feature: To adjust width of a stereo channel on-screen:
1 Press and hold the assigned rotary encoder while the chan- 1 Select one or more channels.
nel is receiving input signal. The LED flashes to indicate level
2 In the Inputs page, adjust width by turning the on-screen
sampling.
Width rotary encoder. Turning the encoder clockwise moves
– or – the width to full stereo, and counter-clockwise moves the
 Click Guess on-screen. width to reverse stereo. The center position represents mono.

1 Release the rotary encoder to the current gain guess. Gain

will be set so the incoming signal reaches 0 dB peak (if Peak High-Pass Filter
mode is selected) or 0 dB RMS (if RMS mode is selected). A built-in 4th-order High-Pass Filter can be engaged on each
input channel. The HPF corner frequency range is from 20 Hz
Setting Right Offset on Stereo Channels to 500 Hz.

On stereo Input Channels and FX Returns, the Gain control

To engage the built-in HPF from the Input encoders:
affects both the left and right channels. The Right Offset fea-
ture lets you offset the gain of the right channel relative to the 1 In the Encoder Assignment section, press the HPF switch to
left channel by –20 dB to +20 dB, within the overall gain lim- assign HPF control to the rotary encoders.
its.
2 Press a channel rotary encoder to insert the filter in that
channel. The rotary encoder “On” indicator LED lights when
To adjust channel gain offset for a stereo channel on-screen: the HPF is in circuit.
1 Go to the Inputs page and target the stereo channel.
3 Adjust the HPF corner frequency by turning the assigned ro-
2 Adjust the right channel gain using the on-screen Right Off- tary encoder.
set encoder.

Phantom Power
Stereo Level Offset Indication
48V phantom power can be applied to any analog stage input
The Stereo LED below the channel meter flashes when the dif-
assigned to an input channel or FX return.
ference in signal level between the left and right channels is
12 dB or greater.
To apply phantom power to an input:
1 In the patchbay, assign a stage input to a channel. See “As-
Pan/Balance signing Input Sources to Channels” on page 70.
Pan adjusts channel pan (for mono input channels) and stereo
2 Target the channel by pressing its Select switch.
balance (for stereo input channels and FX returns).
3 Press the +48V switch in the ACS Input section. The switch
To adjust channel pan/balance from the encoders: lights when phantom power is applied.

1 In the Encoder Assignment section, press the Pan switch to If an input is moved to a different channel, the gain, pad,
assign pan/balance control to the rotary encoders. and phantom power setting will move with the input.
2 Adjust the channel pan/balance by turning the assigned ro-
tary encoder. 20 dB Pad
A 20 dB pad can be applied to any analog Stage input assigned
Stereo Width
to an input channel or FX Return.
Width adjusts the stereo image of stereo input channels and
FX returns by controlling ganged pan positions of the left and To apply a 20 dB pad to a Stage input:
right channels, in opposite directions.
1 Target the channel by pressing its Select switch.

Width can be adjusted from full L–R, to mono, to full reversed 2 Press the 20 dB Pad switch in the ACS Input section. The
L–R. Width controls are not available on mono channels. 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

76 VENUE Profile Guide

Input Polarity (Phase) Invert Channel Solo
The polarity of any input channel or FX return signal can be Three Solo modes are available: Solo In Place (SIP), Pre-Fader
inverted. With stereo channels, only the left channel is in- Listen (PFL), and After-Fader Listen (AFL), and several options
verted. are available for configuring Solo bus operation. Channels can
also be implicitly soloed as part of a VCA.
To invert the polarity of a channel:
See Chapter 14, “Solo and Monitor Busses.”
1 Target the channel by pressing its Select switch.
To solo a channel:
2 Press the polarity inversion (Ø) switch in the ACS Input sec-
tion. The switch lights when the polarity is inverted.  Press the channel’s Solo switch. The Solo switch lights solid
to indicate the channel is explicitly soloed.

Safe
Channel Mute
The Safe switch toggles Automation Safe, Solo Safe, or Bank
Safe on/off. The current function of the ACS Safe switch is de- To explicitly mute a channel:
termined by the current Input Safe switch assignment in the
 Press the Mute switch on the channel. The mute switch
Options > Interaction page.
lights solid to indicate the channel is explicitly muted.
When a Safe mode is enabled for the currently selected chan-
nel, the ACS Safe switch lights if that Safe mode is the cur- Channels can be muted in three ways: explicitly with the
rently assign Input Safe Switch mode. Channel safe status is channel mute switch; implicitly as a result of another chan-
also indicated by the lit or unlit state of each channel strip Safe nel being soloed, and as a member of a Mute Group or VCA.
LED. For more information see Chapter 15, “Muting and Mute
Groups”
To configure the Safe switches for Automation, Solo or Bank
mode, see “Input Safe Switches” on page 65.
Channel Level
To toggle the current Safe state of a channel: Channel level can be adjusted from the Input or FX Return
faders and using the on-screen faders. The currently selected
1 Target the channel by pressing its Select switch.
channel(s) can also be adjusted from the Flex Channel.
2 Press the Safe switch in the ACS Input section. The switch
lights solid when the current channel is Automation Safe, Input channel levels can also be affected by VCAs. For more
flashes when the channel is Solo Safe, and flashes rapidly information, see “Assigning and Using VCAs” on page 86.
when in Bank Safe.
Channel Faders

Delay Channel Faders provide channel level control from – (–INF)

to +12 dB. Use the faders on the console, or on-screen, to ad-
A variable delay can be applied to any Input Channel or FX
just individual channel levels.
Return. The delay range is from 0 to 250 milliseconds.
For more information on input and output fader banking,
To apply delay to a channel from the console: see Chapter 5, “Navigating and Selecting Channels.”
1 In the Encoder Assignment section, press the Delay switch
to assign delay control to the rotary encoders.

2 Press the assigned rotary encoder to apply delay to the chan-

nel. The encoder indicator LED lights when delay is applied.

3 Adjust the assigned Delay encoder to set the desired amount

of channel delay.

Chapter 7: Inputs and Input Routing 77

 Digital Input Sources
On systems that include a DSI (Digital Stage Input) card, the
following additional settings and displays are provided.

Lock LED
SRC Off
Source

Input controls for a DSI channel

Lock LED Indicates lock status for the channel, and mirrors
the same LED on the DSI card.

SRC Off Toggles Sample Rate Conversion on or off for that

channel, and mirrors the same LED on the DSI card. A lit SRC
Off switch indicates that SRC is disabled.

ADAT (Source) Enables the ADAT Optical port as the active in-
put source on the DSI card. When lit, the DSI card is clocking
and listening to corresponding ADAT input; when dark, the
channel is receiving input from the corresponding AES input.

Direct Outs are also available on DSI-fed channels, and their

pickoff point can be specified in the patchbay.

Using Input Direct

Input Direct mode lets you completely bypass the built-in dy-
namics 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.

2 Go to the Inputs page.

3 Click the Input Direct button in the Config section of the In-
puts page for the selected channel. The button flashes to indi-
cate Input Direct mode is active.

Input Direct

Input Direct button

78 VENUE Profile Guide

Chapter 8: Outputs and Output Routing

This chapter shows how to do the following: 3 Click Edit.

• 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
• Using plug-in inserts, and using Graphic EQ on outputs
• Assign and route Direct Outputs Setting the Main bus configuration

• Adjust output channel parameters 4 Select the configuration for the Main Busses.
• Use VCAs 5 Click Apply. The system restarts with the new Main bus con-
figuration.

Configuring Outputs Groups

The following types of output busses are available: Mains, Eight Group busses are available. These Group busses can be
Groups (or Variable Groups), Auxes, Matrix mixers, and globally configured to be mono or stereo as part of the system
Personal Qs. Aux/Group bus configuration. See “Configuring Aux, Group,
and Variable Group Busses” on page 80.
Mains Group outputs can be controlled from the faders and encoders
The Main busses can be configured in L–R+M or L–C–R for- in the Output section.
mats. The Main busses are controlled from the dedicated
Mains controls and fader in the Output section. See Chapter 9, “Groups.”

Configuring the Main Busses Auxes

The Main busses can be configured to operate as either: Up to 16 Aux busses are available. The number of available
Aux busses is set as part of the system Aux/Group bus config-
L–R plus Mono Pans signals between the left and right chan- uration. See “Configuring Aux, Group, and Variable Group
nels to the L–R bus, and sums signals to a separate mono bus. Busses” on page 80.

L–C–R Pans signals across left, center and right channels. Aux bus outputs can be controlled from the Output faders.

Audio may be interrupted or may change levels during this For more information, see Chapter 10, “Aux Sends and
configuration procedure. Variable Groups.”

To configure the Main busses:

Variable Groups
1 Put the system into Config mode.
When the system is in Variable Groups mode, the 8 Group
2 Go to the Options page and click the System tab. 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 8 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, Group, and Variable
Group Busses” on page 80.

Chapter 8: Outputs and Output Routing 79

 Matrix Mixers and Personal Qs Data Cleared When Changing Bus Configurations
Eight Matrix mixers and 8 Personal Q mixers are available. When the bus configuration is changed, all settings are
Each Matrix mixer is a discrete 12-in/1-out (mono) submixer, cleared (or set to default) from the current console settings
with the ability to link adjacent Matrix mixers into stereo and from all stored snapshots, for all Groups.
pairs. Each PQ mixer is a discrete 12-in/2-out (stereo) sub-
mixer. Linking Aux Busses
Matrix mixer and Personal Q input sources can include up to You can link odd/even bus pairs and pan input signals into
12 inputs, selectable from any combination of Aux, Group or those bus pairs. Aux bus pairs are linked on a global basis, and
Mains busses plus up to 8 unique input channels, FX returns appear as linked on all channels. For information on linking
or hardware inputs. Pre- and post-fader tap for Matrix and PQ Auxes, see “Linking Aux and Variable Group Busses for Stereo
sources are assigned in the Pickoffs tab of the Options page. Operation” on page 95.

User Source input assignments are stored in Snapshots as

part of their distinct Matrix or PQ data type. Naming Channels
Output channel names can be changed from the Outputs page
Matrix mixer and PQ mixer outputs are controlled from the
or from the Patchbay.
output faders; matrix inputs are controlled from the encoders
when a particular matrix is selected.
To change the name of an Output channel:
See Chapter 11, “Matrix and Personal Q Mixers.” 1 Go to the Outputs page or the Patchbay page.

2 Target the channel whose name you want to change by

Configuring Aux, Group, and Variable Group
pressing its Select switch or selecting it on-screen.
Busses
3 Double-click the channel name.
Auxes and Groups (or Variable Groups) share the available sys-
tem busses. Configuration options include the following:

8 Auxes + 8 Stereo Groups Divides the available system busses

between 8 mono Aux busses and 8 stereo Group busses.

16 Auxes + 8 Mono Groups Divides the available system bus-

ses between 16 mono Aux busses and 8 mono Group busses. Changing the name of an Output channel in the Outputs page

4 Type a new name and press Enter on the computer key-

16 Auxes + 8 Variable Groups (24 Bus) Divides the available
system busses between 16 mono Aux busses and 8 mono Vari- board.
able Group busses (enables Variable Groups mode).
When naming channels in the Patchbay, double-click the
Audio may be interrupted or may change levels during this channel name next to the grid to edit text; press Tab on the
configuration procedure keyboard to go to the next channel and Shift+Tab to go to
the previous channel.
To configure the Aux/Group/Variable Group busses:
1 Put the system into Config mode.
Assigning Busses to Hardware Outputs
2 Go to the Options page and click the System tab.
Mains, Groups (or Variable Groups), Auxes, Matrix mixer out-
3 Click Edit.
puts and PQ mixer outputs can be assigned to any hardware
4 Select a bus configuration. output on the system. Available output destinations include:
• Stage audio outputs
• FOH (local) audio outputs
• Pro Tools recording inputs

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

Patchbay:

Selecting a bus configuration 1 Go to the Patchbay page and click the Outputs tab.

5 Click Apply. The system restarts with the new bus configura- 2 To the left of the channel grid, click the Mains, PQ, Mtx (Ma-
tion. trix), Aux or Grp (Groups) tab.

80 VENUE Profile Guide

3 Click in the channel grid to assign a bus or Matrix/PQ mixer 3 In the Bus Assigns section, press the L–R (left and right) or
output (listed on the left) to a hardware output (listed across C/Mono (center/mono) switch so that it is lit.
the top).

Left- Center/Mono
Right

Assigning an output in the Patchbay Outputs page

Groups
The Patchbay Outputs page shows the name of the bus or
mixer and its destination. The destination is also displayed be-
low the channel name in the Outputs page and Patchbay Out-
puts page.
Stereo Pan

Bus Assign switches

4 Move the channel’s fader to set the Group output level.

Output name and destination in the Patchbay Outputs page
Group Routing Indication on Output Encoders

Output encoder indicator LEDs indicate Main bus assign-

Routing Group Outputs to the ments as follows:
Mains Busses
Off Group routing to Mains is turned off.
You can route Group outputs to the Main busses from the con-
sole or on-screen. Yellow Group output is routed to the Mains L–R bus.

To route a Group output to the Main busses from the ACS: Green Group output is routed to the Mains C/M bus.

1 Press the Groups switch in the Output Fader assignment sec- Red Group output is routed to both the Mains L–R bus and the
tion to assign control of Group levels to the faders. Mains C/M bus.

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 as-

Groups switch signment for the selected Group.

Assigning Groups to the Output faders

2 Select each Group that you want to assign to the Main bus-
ses by pressing their Select switches.

Assigning a Group output to the Main busses from the Output page

Chapter 8: Outputs and Output Routing 81

 • Click the Hardware Insert button to go to the Inserts page
Using Inserts on Output Busses of the Patchbay, and assign the insert from the Patchbay.

You can use software plug-in inserts and graphic EQ on Mains,

Groups, Auxes, and Matrixes.
Click to Click to
assign go to the
Patchbay
Using Plug-In Inserts on Output Busses
You can insert plug-ins on Output busses directly from the
Outputs page.
Assigning a hardware insert in the Outputs page
To insert a plug-in on an output bus:
The name of the hardware insert destination appears in the
1 Go to the Outputs page and target the bus where you want on-screen Hardware Insert button.
to insert the plug-in.

2 In the Inserts section of the Outputs page, do one of the fol- Setting the Hardware Insert Location
lowing:
You can choose the location of the hardware insert in the sig-
• Click one of the four Inserts pop-up menus and choose a
nal path, relative to the four plug-in inserts, for each channel.
plug-in directly from one of the Plug-In Rack submenus.
A hardware insert does not need to be currently assigned to do
– or – this.
• 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 To set the hardware insert location:
Rack controls. 1 Go to the Outputs page and select the channel where you
want to set the hardware insert location.

Click to 2 In the Inserts section of the Outputs page, click the hard-
Click to
assign go to the ware insert indicator so that it lights red.
Plug-In
Rack
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 18,

“Plug-Ins.”
Click to set
HW Insert
location
Using Hardware Inserts on Output Busses
You can insert external processors in the signal chain of Out-
put busses. Signals from these sources are routed to and from
analog or digital I/O connectors on the Mix Rack (FOH I/O) or Setting a hardware insert location in the Inputs page
the FOH Rack.
Activating and Bypassing Inserts
Assigning Hardware Inserts to Outputs
After plug-in inserts are assigned to an Output bus, they can be
You can assign hardware inserts to Output busses directly activated and bypassed from the console or on-screen using
from the Outputs page or from the Patchbay. the corresponding Output page controls.

To assign a hardware insert to a bus: To activate or bypass an Output bus insert:

1 Go to the Outputs page and target the bus where you want 1 Target the bus by pressing its Select switch.
to assign the hardware insert.
2 Press any of the Plug-In switches, or click the HW In/Out
2 In the Inserts section of the Outputs page, do one of the fol- button on-screen. The switch lights when the Insert is acti-
lowing: vated. (Hardware insets cannot be bypassed from the Profile
• Click the Hardware Insert pop-up menu and choose an console; use the on-screen control instead.)
insert destination directly from the menu.
– or –

82 VENUE Profile Guide

Inserting the Built-In Graphic EQs on Output
Busses
A built-in 31-band Graphic EQ can be inserted on any of the Output
Output bus types. A maximum of 24 Graphic EQs are avail- Fader
assignment
able, depending on the how they are configured. For more in- switches
formation 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. Output Fader controls

2 In the Outputs page, click the 31-Band Graphic Equalizer tab. 2 Move a fader to change the level of its assigned output.

3 Click the Graphic EQ pop-up menu and choose an available

To create a level offset between linked Aux bus or Variable Group
mono or stereo Graphic EQ. The entire Graphic EQ is dis- bus output faders:
played on-screen.
1 Press one of the following switches in the Output Fader as-
GEQ signment section:
pop-up • Aux 1–8
• Aux 9–16
• Groups (when in Variable Groups mode)
Graphic
EQ
2 Do one of the following:
Faders
• 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 bus selected (Group 1)

Graphic EQ displayed in the Outputs page Output Polarity (Phase) Invert

The polarity of any output bus signal can be inverted. With
Adjusting Output Controls stereo outputs (stereo Group busses) only the left channel is
inverted.
Outputs are controlled from the Output faders, encoders and
switches. To invert the polarity of an output bus:
1 Target the bus by pressing its Select switch.
Output Levels
2 Press the polarity inversion (Ø) switch in the ACS Input sec-

To control output levels from the Output faders: tion. The switch lights when the polarity is inverted.

1 Press one of the following switches in the Output Fader as-

signment section: Output Solo
• Aux 1–8
To control the solo status of an output bus:
• Aux 9–16
1 Press one of the switches in the Output section.
• Personal Qs
• Matrixes 2 In the Output section, press an AFL switch to toggle the solo

• Groups status of the corresponding output bus.

• VCA You can set Output banking to follow AFL selection, and
vice versa. For more information on Solo bus operation, see
Chapter 14, “Solo and Monitor Busses.”

Chapter 8: Outputs and Output Routing 83

 Output Mute The Left, Right, and Center/Mono busses can be controlled in-
dependently or in tandem. You can create an offset between
To control the mute status of an output bus: any of the Main bus levels, and it will be preserved when con-
1 Bank the Output faders to the desired type of output: trolling any combination of the Main busses. The offset be-
tween the busses is maintained until at least one of the busses
2 In the Output section, press a Mute switch to toggle the is minimized or maximized.
mute status of the corresponding output bus.

For more information on Mute operation, see Chapter 15, Linking Mains
“Muting and Mute Groups.”
You can link any of the three Mains faders for grouped-control
of level and mute.
Output Delay
To link control of the Mains bus output levels:
A variable delay can be applied to any of the Main busses (L, R
and C/M), Aux bus outputs, and Matrix mixer outputs. (Vari- 1 In the Outputs page, click the on-screen channel Link but-
able Group outputs do not have this variable delay feature.) tons for any combination of Left, Right, or Center/Mono out-
put strips to assign control of the corresponding busses to the
To apply delay to an Aux bus: Mains Fader.

1 Target the Aux bus by pressing its Select switch.

2 Press the ACS Delay rotary encoder to engage the delay.

3 Adjust the delay value by turning the Delay rotary encoder.

Link
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

Mains fader Link selectors in the Outputs page

Adjusting Main Bus Controls 2 Move the Mains fader to change the level of the assigned
busses.
Mains Bus Output Levels
The Mains bus output levels are controlled from the single
Mains Bus Mute
Mains Fader located to the right of the Output faders. The mute status of the Main busses is controlled from the
Mute switch located above the Mains Fader. When at least one
Select of the Main busses is muted while others (unlinked) are not,
the Mains mute switch flashes.
Mute
To control the mute status of the Main busses:

1 In the Outputs page, click the on-screen channel Link but-

tons for any combination of Left, Right, or Center/Mono out-
put strips to assign control of the corresponding busses to the
Mains Fader.

2 Press the Mute switch to toggle the mute status of the as-
Fader signed busses.

Mains Fader and controls in the Output section

84 VENUE Profile Guide

Mains Bus Delay
Direct Outputs
A variable delay (from 0 to 500 ms) can be applied to any of
the Mains busses. All input channels and output buses feature Direct Outputs.

Available destinations for Direct Outputs include:

To apply delay to a Main bus:
• Stage audio outputs
1 Target the Main bus where you want to apply delay by re- • FOH audio outputs
peatedly pressing the Select switch in the Mains section, or by
• Pro Tools recording inputs
selecting it on-screen.
• Plug-ins
2 Adjust the Delay value by turning the on-screen Delay ro-
tary encoder. Each output destination may be fed by only one Direct Output
signal (multiple Direct Output signals cannot be routed to a
single output).
Main Bus Center Divergence Options
When the Main busses are set to L–C–R (Left-Center-Right) To route a channel or bus to a Direct Output:
mode, the Center Divergence setting determines amount of 1 Target the channel or bus you want to route to a Direct Out-
center-panned signal sent to the center output. put by pressing its Select switch.
 When Center Divergence is set to 100%, a channel panned 2 In the Directs page of the Patchbay, click the tab for the
to center is sent to the center output only. channel or bus type you are routing.
 When Center Divergence is set to 0%, a channel panned to
3 Click in the channel grid to route the channel or bus (listed
center is sent equally to the left and right outputs only (phan-
on the left) to an available output (listed across the top).
tom 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 in-
creases towards 100%.

To set Center Divergence:

1 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).

3 Press Enter or Return on your keyboard to confirm the set-

ting.

Assigning a Direct Output in the Patchbay Directs page

Main Bus Automatic Delay Compensation
4 Select the pickoff point for the Direct Output by clicking the
VENUE systems automatically compensate for delays incurred letter to the right of the channel or bus name and choosing
by the use of Groups and insertion of plug-ins in the signal from the pop-up menu.
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.

Monitoring the Main Mix

You can send the Main mix (the signal present on the Main
Selecting a Direct Output pickoff point in the Patchbay Directs page
busses) to the Monitor bus for routing to the monitor bus for
headphones. See “Sending the Main Mix to the Monitor Bus” 5 In the ACS, press the Direct Output encoder so that its indi-
on page 123. cator LED stays lit (on).

6 Turn the Direct Out encoder to set the Direct Output level.

Chapter 8: Outputs and Output Routing 85

 Up to 12 dB of gain can be added to the Direct Output signal.
Direct Output level is displayed in the Selected Channel dis- Personal Q Mixers
play, and controls are provided on-screen in the Patchbay, In-
Eight Personal Q (PQ) mixers are available for sending up to
puts, and Outputs pages.
eight discrete stereo mixes of input channels or busses to any
available hardware output or bus-fed plug-in. Each PQ is a
Direct Output Pickoff Points 12 x 2 mixer with assignable input sources including Group
busses or Aux busses, the 3 Main busses (L–C–R or L–R+M) and
The pickoff points for the Direct Output signal are selected in
any of up to 8 user-selectable channels.
the Directs page of the Patchbay. The following pickoff points
are available for each type of channel or bus: Each of these PQ mixers can be remotely controllable by op-
tional PQ Controller units, which allow adjustment of PQ
Pickoffs for Direct Outs
mixer levels from the stage.
Channel Type Available Pickoff Points
If no PQ Controllers are used, the PQ mixers are still avail-
Input Top of channel
Insert return
able for use as stereo Matrix mixers at the console.
Pre/post fader
PQ input levels and PQ input pan are controlled from the Out-
FX Returns Top of return put encoders. Adjacent PQ inputs can be linked or unlinked.
Pre/post fader The master output of each PQ mixer is controlled from the
Output faders.
Outputs Top of bus
Pre fader
Post fader See Chapter 11, “Matrix and Personal Q Mixers.”

Configuring Direct Output Pickoff Points

Assigning and Using VCAs
To configure the Direct Output pickoff point for Inputs:
VCA controls emulate the operation of traditional Voltage
1 Go to the Options page and click the Pickoffs tab. Controlled Amplifiers (VCAs). Up to eight VCA faders are
2 Under Input Strip Fader Pickoff Point, click Pre-Fader or
available for remote control of input channel, FX return, or
Post-Fader. output channel fader gain.

VCAs control level of the assigned channels only. They do

not act as a summing output bus.
Matrix Mixers
VCAs remotely control the fader gain of each channel as-
Eight Matrix mixers are available for sending up to eight signed to the VCA fader, but do not change the position of the
mono mixes of input channels and busses to any available faders on those channels. The accumulated gain of a channel
hardware output or bus-fed plug-in. belonging to several VCAs is limited to +12 dB.

Each Matrix is a 12-in/1-out mono mixer with assignable in-

put sources including Group busses or Aux busses, the 3 Main Assigning Channels to VCAs
busses (L–C–R or L–R+M) and any of up to 8 user-selectable
channels. Matrix input levels are controlled from the Output To assign channels to VCAs:
encoders when a Matrix is selected. Adjacent Matrix inputs 1 Press the VCAs switch in the Output faders section.
can be linked or unlinked.
2 Select the VCA you want to target for assignment.
Odd/even pairs of Matrix mixers can be linked to form stereo
3 Press the Multi-Assign switch to the right of the Output sec-
Matrix output busses. The master output of each Matrix mixer
tion.
is controlled from the Output faders.
4 Press the Select switches on the input channels, FX returns,
See Chapter 11, “Matrix and Personal Q Mixers.” or output channels you want to assign to the VCA.

5 Press the flashing Multi-Assign switch to confirm the assign-

ment, or press the Cancel switch to cancel the assignment.

86 VENUE Profile Guide

Channel Strips Show VCA Contribution Turning Channel VCA Indication On and Off
The effective gain of any channel is equal to the combination By default, channel VCA indication is on. You can turn off
of its individual channel fader, plus any (all) VCA level VCA indication in the Options > Interaction page.
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.
Show VCA Contribution

On-Screen VCA Indication Displays settings in the Options > Interaction page.

VENUE displays effective gain as a second, transparent fader To turn channel VCA indication off or on:
cap on-screen in the fader displays of both the Inputs and Out-
1 Go to the Options > Interaction page.
puts pages.
2 In the Displays section, click to enable (or disable) Show VCA
Selected Channel When the currently selected channel is un-
Contribution.
der VCA control, the net effect of all its assigned VCAs is
shown in the form of a transparent fader cap.
Showing VCA Members

To view VCA membership:

1 Press the VCA switch to bank the Output faders to VCAs.
Channel level
2 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.

Effective gain (VCAs) VCA assignments are shown in each channel strip LCD with a
flashing number (the number indicates the VCA to which
each channel is assigned).

Effective gain (VCA contribution) shown on the selected channel To exit Show VCA Members mode:
Inputs and Outputs Pages In the Inputs and Outputs pages,  Press the Multi Assign switch, or Cancel.
red “ghost” fader caps appear below the fader displays of
channels that are currently assigned to one or more VCAs.
Using VCAs

To adjust the levels of VCA members:

1 Press the VCAs switch to assign control of the VCAs to the
Channel levels
Output faders.
Effective
gain (VCAs)
2 Move the fader for the VCA whose members you want to ad-
just.

Effective gain (VCA contribution) shown in the on-screen fader displays

To solo the members of a VCA:
The opacity of the ghost caps vary with the actual VCA levels:
 Press the Solo switch on the VCA channels whose members
• Lighter caps indicate smaller amounts of VCA gain. you want to solo so that the Solo switch is lit.
• Brighter caps indicate larger amounts of VCA gain.
Input channel solo mode (PFL or AFL) follows the current set-
ting on the Options > Busses page.

Input channel solo mode (PFL or AFL) follows the current

setting on the Options > Buses page.

Chapter 8: Outputs and Output Routing 87

 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
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 immedi-
ately focus on those channels, without needing to search
through the input fader banks.

To spill a VCA:
1 Select the VCA output fader bank.

2 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 unal-
tered).

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. Un-
used 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.
• 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 automati-
cally spills that VCA.

88 VENUE Profile Guide

Chapter 9: Groups

This chapter shows how to do the following: To route channels to any number of Group busses:
• Configure Group busses 1 Target one or more channels.
• Route Groups
2 In the Bus Assigns section, press any of the Group switches
• Adjust Group bus parameters
so that they are lit.

Configuring Group Busses Left- Center/Mono

Right
The Output section has 8 available Group busses. Group out-
puts can be assigned to the Main Output busses, to available
bus-fed plug-ins, to Matrix mixers, and to any hardware out-
puts on the systems.
Groups
Group busses can be globally configured to be mono or stereo
as part of the Aux/Group bus configuration. See “Configuring
Aux, Group, and Variable Group Busses” on page 80.

Stereo Pan

Routing Inputs to Group Busses Bus Assign switches

To route multiple channels to a single Group:

1 Press the Groups switch to bank the Output faders to the Routing Group Outputs to the Main
Groups busses. Busses
2 Press the Select switch in the Output strip for the Group
You can route Group outputs to the Main busses from the ACS
(1–8) to which you want to assign channels.
or on-screen.
3 Press the Multi-Assign switch near the Output encoders. The
Multi Assign and output Select switches flash. To route a Group output to the Main busses from the ACS:

4 Press the Select switch on the channels you want routed to 1 Press the Groups switch in the Output Fader assignment sec-
the selected Group. tion to assign control of Group levels to the faders.

5 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.
Groups switch

Assigning Groups to the Output faders

2 Select each Group that you want to assign to the Main bus-
ses by pressing their Select switches.

Chapter 9: Groups 89
 3 In the ACS Bus Assigns section, press the L–R (left and right) To cancel Group Spill, do any of the following:
or C/Mono (center/mono) switch so that it is lit. • Press or double-press the Select switch on the currently
spilled Group.
• Press any Bank (A-D) switch.
Left- Center/Mono • Press the FX Returns 1-8 switch.
Right
• Press a GEQ switch.
Bus Assign switches • In the on-screen dialog, click Exit Group Spill.
To route a Group output to the Main busses on-screen:
Selecting Other Groups While Spilled
1 Go to the Outputs page and select the Group you want to
route to the Main busses. Selecting another Group while spill mode is active automati-
cally spills that Group.
2 Click the Bus Assign buttons on-screen to toggle the bus as-
signment for the selected Group.
Special Cases with Spill

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
Assigning a Group output to the Main busses from the Output page of the console or from an on-screen list of Group members.

Viewing Group Bus Assignments in the Input

Managing Group Bus Assignments Section
To help manage Groups, the following sections explain how
you can spill, view, copy (duplicate) and reset Groups and To view Group membership on the console:
Group bus assignments. 1 Press the Groups switch to bank the Output faders to
Groups.
Group Spill 2 Press and hold the Default switch, then press the Multi As-
sign switch in the Output section.
You can “spill” a Group to have only its assigned channels
banked to the Input section. Group Spill lets you quickly ac- Group numbers are shown (flashing) in each channel strip
cess only those channels assigned to a specific Group and im- LCD; the number indicates the Group to which each channel
mediately focus on those channels, without needing to search is assigned.
through the input fader banks.

To spill a Group:
1 Select the Group output fader bank.

2 Double-press a Group Select switch to spill its members

across the input faders.

The selected Group Select switch LED flashes, as do the cur-

rent input Bank or FX Return 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. Un-
used channel strips are left blank and inactive.

If the Group contains more than 16 members only the first 16

members are shown.

90 VENUE Profile Guide

Viewing Group Bus Assignments On-Screen 2 Click the Input Assign pop-up menu at the bottom of the
Members list, choose Replace With Mix From, then choose the
When a Group bus channel is targeted on-screen, its members Group whose assignments you want to copy to the currently
are shown in a list on the right side of the Outputs page. selected bus.

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 mem-
bers are displayed on-screen.
Currently selected output (Group)
Group members shown in the Outputs page 2 In the list of Group bus members, right-click the input as-
signment you want to remove and choose Unassign.
Copying Assignments Between Groups
To remove all input assignments from a Group bus:
You can copy the current input assignments from one Group
1 Select the Group bus you want to change so that its mem-
bus to another. If the Groups are stereo, assignments can be
bers are displayed on-screen.
copied from other linked busses. This lets you quickly dupli-
cate monitor mixes. 2 Click the pop-up menu at the bottom of the Members list
and choose Reset Mix.
Copying Group bus assignments overwrites all the assign-
ments on the destination Group bus.

To copy input assignments between Group busses:

1 Target the Group bus that you want to be the destination of
the copied assignments by selecting its on-screen channel
Click
strip.
Removing input assignments from a Group bus

Chapter 9: Groups 91
 Routing Signals to a Stereo Group Bus
Group Bus Signal Flow Options Configuration
When configured as stereo busses, the eight Groups can be fed
Routing Signals to a Mono Group Bus
as 8 true stereo busses or (in Expert mode only) as 8 dual mono
Configuration 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 Stereo Busses
pairs.
To use stereo Group busses:
Unlinked Mono Busses 1 Make sure the Group busses are configured as stereo busses.
See “Configuring Aux, Group, and Variable Group Busses” on
To use unlinked mono Group busses: page 80.
1 Make sure the Group busses are configured as mono busses.
2 When routing channels to any of the Group busses, make
See “Configuring Aux, Group, and Variable Group Busses” on
sure the Stereo Pan switch is lit yellow.
page 80.

2 While routing channels to Group busses, make sure the Ste-

When working with stereo Groups in Simple Mode, the Ste-
reo Pan switch is off. reo Pan switch is always lit to indicate all Groups operate in
true stereo.
The Group switches in the ACS Bus Assigns section light green
to indicate mono operation. In this configuration, input sig- Dual Mono Busses
nals are handled as follows:
Dual mono busses may only be used in Expert Mode. See
Mono Input Signals Contributing mono signals are summed to “Simple and Expert Operational Modes” on page 93.
the mono Group bus. Any pan information from mono input
channels feeding the bus is ignored.

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
Group bus levels are adjusted just like other Output busses
Linked Odd/Even Bus Pairs
(bank to Groups, adjust the fader). For more information, see
“Adjusting Output Controls” on page 83.
To use linked mono Group bus pairs:
1 Make sure the Group busses are configured as mono busses.
See “Configuring Aux, Group, and Variable Group Busses” on
Group Bus Output Pan
page 80. Group bus output pan is controlled from the Output encoders.
2 While routing channels to Group busses, press the Stereo Groups-to-Mains assignment is displayed by the indicator
Pan switch so that it lights yellow. LED for each Output encoder, when Groups are banked to the
Output faders. The Output encoder Pan switch cycles the en-
The Group switches in the ACS Bus Assigns section and the
coders and LCD to pan, balance and width parameters.
Stereo Pan LED in the channel’s Bus Assign indicator light yel-
low to indicate stereo operation. In this configuration, input The pan controls adjust pan (when in mono Groups configu-
signals are handled as follows: ration) or stereo balance and width (when in stereo Groups
configuration) of the Group output to the Main busses only.
Mono Input Signals Contributing mono signals are panned
The Group outputs in the Patchbay are distinct left and right
across the linked odd/even Group bus pair. Pan information
channels.
from each mono input channel determines its pan position in
the bus pair.
To control mono Group output pan:
Stereo Input Signals Contributing stereo signals are panned
1 Bank the Output faders to Groups.
across the linked odd/even Group bus pair. Balance and width
information from each stereo input channel determines its 2 Press the Pan switch in the Output encoder section once to
contribution to the odd and even sides of the bus pair. assign control of Group pan to the Output encoders.

3 Turn a rotary encoder to adjust the pan for the correspond-

ing mono Group.

92 VENUE Profile Guide

To control stereo Group output balance and width: To set the link status of individual mono Group busses on a
channel (Expert Mode only):
1 Press the Pan switch in the Output encoder section.
1 Make sure Stereo Group Panning is set to Expert Mode.
2 Turn a rotary encoder to adjust the balance for the corre-
sponding 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
3 Press the Group Pan switch in the Output Encoder assign-
Multi-Select switch next to the input faders.
ment section an additional time to assign Group width con-
trol to the Output encoders. 3 In the Bus Assigns section, press the Stereo Pan switch. The
switch flashes yellow to indicate bus link mode.
4 Turn a rotary encoder to adjust the width for the corre-
sponding stereo Group. 4 Press any of the Group switches to link or unlink the bus
pairs (1–2, 3–4, 5–6, or 7–8). The Group switch pairs flash yel-
low to indicate stereo linked, or flash green to indicate mono.

Simple and Expert Operational Modes 5 Press the flashing Stereo Pan switch to confirm the bus link
status for the selected channels.
When configuring Group busses, you can choose between two
operational modes that provide different levels of flexibility:
Simple mode and Expert mode. Working with Stereo Group Busses
When configured as stereo busses, Groups can operate in the
Setting the Operational Mode following modes:

Simple Mode In Simple Mode, all 8 Group busses function

To switch between Simple mode and Expert mode:
only as true stereo busses.
1 Put the system in Config mode.
Expert Mode In Expert Mode, any of the 8 stereo Group busses
2 Go to the Options page and click the Busses tab.
can be set to act as true stereo or as dual mono busses, on a per
3 Under Stereo Group Panning Operation, select the mode you channel basis.
want to use (Simple or Expert).
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
3 In the ACS Bus Assigns section, press the Stereo Pan switch.
The switch flashes yellow to indicate bus link mode.
Working with Mono Group Busses
4 Press any of the Group switches (1–8) to set the correspond-
When configured as mono busses, Groups can operate in the
ing bus to stereo or dual mono. The Group switches flash yel-
following modes:
low to indicate stereo, or flash green to indicate dual mono.

Simple Mode 5 Press the flashing Stereo Pan switch to confirm the bus link
status for the selected channels.
In Simple mode, either all Groups on a channel are mono, or
all Groups on a channel act as bus pairs. To use dual mono Group busses (Expert Mode only):
1 Make sure the Group busses are configured as stereo busses.
Expert Mode
See “Configuring Aux, Group, and Variable Group Busses” on
In Expert mode, any of the 4 bus pairs can be stereo linked in- page 80.
dividually while leaving the other busses as mono, on a per
2 Make sure the link status of the Group busses you want to
channel basis.
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 9: Groups 93
Chapter 10: Aux Sends and Variable Groups

This chapter explains the following Aux Sends operations: 3 Click Edit.
• Configuring Aux Send busses
• Routing to Aux Sends
• Adjusting Aux Send parameters
• Managing Auxes
Bus Pair
Links

Configuring Aux and Variable Group

Busses
Up to 16 Aux busses are available. The number of available Linking bus pairs in the Options > Busses page
Aux busses is set as part of the overall Aux/Group bus config-
4 Click the checkboxes above any of the bus pairs to link or
uration. (See “Configuring Aux, Group, and Variable Group
unlink each pair.
Busses” on page 80.)
5 Click Apply.
When the system is set to Variable Groups mode, the 8 Group
busses are replaced by Variable Group busses, which operate in When busses are linked, signals are handled as follows:
much the same way as Aux busses. When set to Variable
Groups mode (Var Groups), the 16 Aux and 8 Variable Group Mono Input Signals Contributing mono signals are panned
busses provide up to 24 busses. across the linked odd/even bus pair.
• When the Follows Channel Pan option is off, panning of
Auxes can be mono, or linked to form stereo pairs. Auxes and the mono signal to the bus pair is controlled by the Aux
Variable Group busses can be fed by input channels and FX re- Pan control (the even-numbered send).
turns, and can be assigned to hardware outputs in the Patch-
• When the Follows Channel Pan option is on, the pan in-
bay. Aux Send level controls provide a gain range of –INF to
formation from each mono input channel determines its
+12 dB.
pan position in the bus pair.

Stereo Input Signals Contributing stereo signals are panned

Linking Aux and Variable Group Busses for
across the linked odd/even bus pair. Stereo width information
Stereo Operation
from the input channel is applied to the bus signal.
When working with Aux/Var Group busses, you can link • When the Follows Channel Pan option is off, balance of
odd/even bus pairs and pan input signals into those bus pairs. the stereo signal to the bus pair is controlled by the Aux
Pan control.
To link Aux or Var Group bus pairs: • When the Follows Channel Pan option is on, the balance
1 Put the system into Config mode. from each stereo input channel determines its contribu-
tion to the odd and even sides of the bus pair.
2 Go to the Options page and click the Busses tab.

Chapter 10: Aux Sends and Variable Groups 95

 Selecting Aux Send and Variable Group Classifying Auxes for Snapshots
Pickoff Points
You can classify Aux Sends and Variable Group sends as mon-
You can specify the pickoff point on input channels and FX itor sends (“Mon”) or as effects sends (“FX”) for the purposes of
returns channels for Aux and Var Group sends. Pickoff points scoping and safing each type separately in snapshots. See
are set for each bus independently. If any busses are linked, “Classifying Aux Sends” on page 200.
the pickoff point is set for the linked bus pair.

Each channel can be sent to an Aux or Var Group either pre- or

post-fader. Pre-fade offers several choices of pickoff. Routing Inputs to Aux Busses
Pre-EQ Post-HPF and pre-EQ, Dynamics and Channel Inserts, You can send signals from any input channel or FX return to
pre-Mute, and pre-Fader. The Aux or Var Group send is not af- any number of Aux Send or Variable Group busses with the in-
fected by the channel mute. put encoders, from the ACS, from the Output section, or
on-screen.
Pre-Mute Post-HPF, post-EQ, Dynamics, and Channel Inserts,
pre-Mute, and pre-Fader. The Aux or Var Group send is not af- To route channels to Aux or Var Group sends using the input
fected by the channel mute. encoders:
1 To access Aux Sends on the input channel encoders, press an
Pre-Fader Post-HPF, post-EQ Dynamics, and Channel Inserts,
post-Mute, and pre-Fader. The Aux or Var Group send is af- Encoder assign Send switch 1–2 through 15–16.
fected by the channel mute. – or –
• To access Variable Groups, press the Var Groups switch in
To set the Pre pickoff point for an Aux or Variable Group send: the ACS Bus Assigns section. This displays Variable Group
1 Go to the Options page and click the Busses tab. Sends on the input encoders and the ACS Aux Send con-
trols.

Pickoff
point
options

Encoders
Setting Aux bus pickoff points

2 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. Aux
Sends

To activate a Pre pickoff point for an Aux or Variable Group send:

1 Go to the Inputs page and target the channel with the pick-
off point you want to activate.

2 Do any of the following:

• To activate an Aux Send Pre pickoff, click the correspond- Encoder assignment switches for input channels
ing Pre button in the Aux Sends section. 2 For each channel you want to assign to the selected Aux
– or – Send bus, press its channel encoder so that its “On” indicator
LED lights.
• To activate a Variable Group Pre pickoff, click the Var Groups
button in the Bus Assign section to display Var Groups, then • The first press of an Aux Send encoder assigns level con-
click the corresponding Pre button. trol of the odd-numbered send. The switch lights green
to indicate an odd-numbered selection.
• 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.

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

Activating Pre pickoff for an Aux Send (Inputs page shown) • Turn the encoder on each channel.
• Press the Flip to Faders switch, then adjust the channel
When the Pre button is lit, the selected Pre pickoff point is
fader.
used. When the Pre button is off, the pickoff point is
Post-Fader.

96 VENUE Profile Guide

To route channels to Aux Sends busses using the ACS:
1 Do either of the following:
Routing Aux Busses to Outputs and
• To select a single channel, press its Select switch.
Plug-Ins
• To select multiple channels, press Select on the first chan- Aux and Var Group busses can be routed to hardware outputs
nel, hold the Multi-Select switch (located to the left of and to available bus-fed plug-ins.
the input faders), then press the Select switches on the
other channels. To route an Aux or Variable Group output to the Main busses from
the ACS:
2 In the Aux Sends section, press the Aux 1–8 or 9–16 switch
1 Press an Auxes switch (1-8 or 9-16) in the Output section to
to bank it to the corresponding paris of Aux Sends.
assign control of Aux levels to the Output faders.
3 Press an Aux Sends encoder to enable that send.
2 Select each Aux that you want to assign to the Main busses
4 Rotate the encoder to adjust that send level. by pressing their Select switches.

3 In the ACS Bus Assigns section, press the L–R (left and right)
To route channels to Aux Sends from the Output section:
or C/Mono (center/mono) switch so that it is lit.
1 Press the Auxes 1–8 or 9–16 switch to bank the Output fad-
ers to those Aux busses. 4 Move the channel’s fader to set the Aux output level.

2 Press the Select switch in the Output strip for the Aux Send Like other Output busses, Aux busses also provide Direct Outs,
to which you want to assign channels. inserts and built-in Graphic EQ capabilities. For details, see the
following:
3 Press the Multi-Assign switch near the Output encoders. The
Multi Assign and output Select switches flash. Direct Outs See “Direct Outputs” on page 85.
4 Press the Select switch on the channels you want routed to Inserts See “Using Inserts on Output Busses” on page 82.
the selected Aux Send.
Graphic EQ See “Inserting the Built-In Graphic EQs on Output
5 Press the Multi Assign switch again to confirm the action.
Busses” on page 83.
– or –

 Select another Aux Send to confirm the current assignment

but remain in Multi Assign mode to assign channels to the

newly targeted Aux bus.

Chapter 10: Aux Sends and Variable Groups 97

 To control panning of Aux bus or Variable Group bus pairs from
Adjusting Aux Send Controls the ACS Aux Sends section:

You can adjust Aux Sends from the input encoders, from the 1 Bank the Output faders to the Aux 1–8 or Aux 9–16 (for
ACS, and on-screen. Auxes) or Groups (for Variable Groups).

1 Target the bus you want to pan by pressing its Select switch.
Using the Input Encoders In a linked bus pair, the ACS Aux Send controls show the fol-
lowing:
To control Aux Sends using the input encoders: • Odd-numbered rotary encoders control send level
 Press an Encoder assign Send switch (1–2/15–16) to bank • Even-numbered rotary encoders control send pan
that Aux Send to the input encoders.
2 Use the Aux 1–8, Aux 9–16 and Var Groups switches to tar-
get the desired send busses. A lit switch LED indicates the cur-
To turn a send on or off: rent selection.
1 Press the input encoder for the Aux on the desired channel
3 Turn the even-numbered rotary encoders in the Aux Sends
to toggle that send on/off.
section to adjust the corresponding send pan.
2 To adjust send level, turn that encoder.
You can link the ACS Aux Sends section to follow AFL, let-
When Aux busses are linked, input signals are panned across ting you immediately access send controls for Auxes and
the bus pair. Panning can be controlled from the Input encod- Variable Groups by soloing any Aux or Group output strip.
ers or from the ACS Aux Sends section. For more information, see “Auxes/Variable Groups Follow
AFL and AFL Follows Auxes/Variable Groups” on
Controlling Aux Send and Variable Group Send Pan page 120.

When Aux busses or Variable Group busses are linked, input Using Flip to Faders to Access Send Level and Pan
signals are panned across the bus pair. Panning can be con- Simultaneously
trolled from the Input encoders or from the ACS Aux Sends
section. You can use Flip to Faders mode to spill Aux or Variable Group
level control to the input faders while retaining control of
To control panning of Aux bus or Variable Group bus pairs from Send pan from the input encoders.
the Input section:
To access Send level and pan simultaneously:
1 Do one of the following:
• Press an Encoder assign Send switch to bank that Send to 1 Assign the input encoders to Aux Sends or Variable Groups

the input encoders. by doing either of the following:

• Press the Var Groups switch in the ACS Bus Assign section • Press a Send switch in the Input Encoder Assignment sec-
to bank Variable Group Sends on the input channels. tion to assign the encoders to control level for the se-
lected send.
2 In the Input Encoder Assignment section, press the Send
• Target an Aux or Variable Group bus by selecting it in the
switch (1–16) for the bus pair you want to pan. If you banked
Output section.
to Variable Groups, press a Send switch 1–8.
• The first press of the Aux switch assigns control of the 2 Press the Flip to Faders switch, at the bottom of the Input

send level to the encoder. The switch lights green and the Encoder Assignment section. The input faders now control
encoder display shows the odd-numbered send. and display level for the selected send, and the encoders dis-
play and control Send pan.
• The second press of the Aux switch assigns control of the
send pan to the encoder. The switch lights yellow and the
Setting Aux Send Pan to Follow Channel Pan
display shows a “P” before the odd-numbered send.
Panning of the input signal can be set to follow the pan or bal-
3 With the Aux switch lit, turn the rotary encoder on each In-
ance values of the Input Channel or FX Return feeding the
put Channel or FX Return to adjust the send pan.
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 op-
tion. This setting is applied globally to the corresponding Aux
Send.

98 VENUE Profile Guide

 Copying Assignments Between Busses
Managing Aux Bus Assignments
You can copy the current input assignments from one Aux or
Variable Group bus (or Mains) to another bus of either type. If
Viewing Aux and Variable Group Bus the busses are linked, assignments can be copied from other
Assignments linked busses. This lets you quickly duplicate monitor mixes.
When an Aux bus or Var Group output channel is targeted
Copying bus assignments overwrites all the assignments on
on-screen, its members are shown in a list on the right side of
the destination Aux bus.
the Outputs page.
To copy input assignments between busses:
To view input assignments to an Aux or Variable Group bus:
1 Target the Aux bus that you want to be the destination of
1 Go to the Outputs page.
the copied assignments by selecting its on-screen channel
2 Target an Aux bus output channel by selecting its on-screen strip.
channel fader strip. Input channels routed to the selected bus 2 Click the Input Assign pop-up menu at the bottom of the
are displayed in the Members list on the right side of the page. Members list, choose Replace With Mix From, then choose the
Aux/Var Group bus whose assignments you want to copy to
To go to any assigned input channel from the Outputs page: the currently selected bus.
 Click the name of the input channel in the Members list.

Member
input
channels

Input assign
pop-up menu

Currently selected output

Aux bus assignments shown in the Outputs page Copying input assignments between Aux busses

Resetting Aux and Variable Group Bus Copying Mains Assignments to Aux Busses
Assignments
You can copy the current Main bus assignments to Aux busses
You can remove input assignments from Aux/Var Group bus or Variable Group busses to base monitor mixes from a main
output channels on-screen. mix. Assignments to the Main Left/ Right busses can be copied
to linked busses, and assignments to the Center/Mono bus can
To remove an input assignment from an Aux or Variable Group be copied to mono busses.
bus:
1 Target the bus output channel you want to change by select- To copy bus assignments from the Mains to Auxes or Variable
ing its on-screen channel strip. Groups:

2 In the list of member input channel assignments, right-click 1 Target the bus that you want to be the destination of the
the input assignment to remove and choose Unassign. copied assignments by selecting its on-screen channel strip.

2 Click the Input Assign pop-up menu at the bottom of the

To remove all input assignments from a bus: Members list, choose Replace With Mix From, then choose the
1 Target the Aux bus output channel you want to change by available Main bus (Left-Right or Mono) whose assignments you
selecting its on-screen channel strip. want to copy to the currently selected bus.

2 Click the pop-up menu at the bottom of the Members list The state of the bus controls follow the state of the corre-
and choose Reset Mix. sponding 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.

Chapter 10: Aux Sends and Variable Groups 99

Chapter 11: Matrix and Personal Q Mixers

The Outputs section offers 8 mono Matrix mixers and 8 stereo Personal Q (PQ) 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 stereo pairs.

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 11: Matrix and Personal Q Mixers 101

 Personal Q Mixers
Each of the 8 available Personal Q (“PQ”) 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 PQ User Sends. Each Personal Q mixer has a stereo output.

PQ Source controls

PQ output
level and
controls

User Assign

Currently selected PQ mixer Reset and Replace selector

Personal Q Mixer in Outputs page

Personal Q Controller System (Optional)

With the optional Personal Q Controller system, performers
can adjust the controls in the Personal Q mixer from a remote
location. See the VENUE Personal Q Guide for details.

If no PQ Controllers are used, the PQ mixers are still avail-

able for use as stereo Matrix mixers controllable from the
console.

102 VENUE Profile Guide

 To stereo link Matrixes:
Configuring Matrix and PQ Mixers 1 Put the system into Config mode.
The 12 Inputs for each Matrix and PQ mixer can be any com-
2 Go to the Options > Busses page.
bination of these 35 potential sources:
• 24 shared Aux and Group sources 3 In the Matrix section, click Edit.

• 3 Mains sources (LCR or LR+M) 4 Click to enable the Link between any two adjacent
• 8 User Input sources (odd/even) Matrixes.

User Inputs can be input channels, FX Returns, physical stage 5 Click Apply. (Click Cancel to exit Edit mode without
audio or FOH audio inputs, or inputs from Pro Tools playback changes.)
options. In addition:
• One or more of the 8 available user inputs can be sent to
one or more Matrix or PQ mixers.
• Input source assignment and user input assignment can
be stored on a per-snapshot basis.
Editing the link status of a Matrix pair in the Options > Busses page.
• The input sources for Matrix and PQ mixers are config-
ured as Pre- or Post-Fader in the Pickoffs tab of the Op- When a matrix pair is linked, the even-numbered channel in-
tions page. herits all parameter settings of the odd-numbered channel.
• Input labels (1–8, Left, Right, C/Mono and User) are only
The matrix mixer changes to a stereo matrix mixer:
intended as a guide. In use, any input source can be as-
• A Pan control is added to each matrix mixer input source.
signed to any mixer input (for example, Left doesn't al-
ways have to be assigned to the Left input of a mixer). • All input sources are panned center upon linking.

Plug-in assignments to the formerly mono matrix channels

Configuring Aux, Group and Mains Pickoffs are lost, including all snapshot references.

To configure Auxes, Groups, and Mains pickoffs for the Matrix Unlinking Matrixes
and PQ mixers:
1 Put the system in Config mode. To unlink a pair of Matrixes:
1 Put the system into Config mode.
Configuring pickoff points may cause a momentary loss of
audio, and therefore cannot be changed in Show mode. 2 Go to the Options > Busses page.

2 Go to the Options page and click the Pickoffs tab. 3 Click Edit in the Matrix section.

3 Under Matrix and PQ Sources, configure Aux, Groups and 4 Click to unlink the desired Matrixes.
Mains (LCR or LR+M) as pre- or post-fader. 5 Click Apply.

When a Matrix pair is unlinked the even-numbered channel

Linking and Unlinking Pairs to form Stereo again inherits all parameter settings of the odd-numbered
Matrix Outputs channel.
The eight mono Matrix mixers can be linked in odd/even pairs
Pre-existing plug-in and GEQ routing may be affected when
to form up to four stereo-linked pairs of matrix outputs. A
the matrix link state is changed. An alert dialog warning of
combination of mono and stereo-linked Matrix mixers is pos-
data loss is shown prior to performing the link or unlink op-
sible. Odd-even matrix pairs are linked and unlinked using
eration. Click OK to complete the link operation, or click Can-
on-screen controls in the Options > Busses page.
cel to cancel without changes.
Linking Matrixes is accomplished using the same Edit and
Apply methods used for stereo linking Auxes.

Chapter 11: Matrix and Personal Q Mixers 103

 Snapshots Linking and Unlinking Adjacent Matrix Inputs
All matrix settings, including Pan but excluding the stereo Adjacent inputs to Matrix mixers can be linked or unlinked on
link status, are stored and recalled with snapshots. The stereo a per input pair basis. Link status can be specified on a per Ma-
link status of Matrix masters is not snapshottable. trix basis (for example, inputs 1 and 2 can be linked for Matrix
1, but unlinked for Matrix 2). This gives you the ability to con-
Compatibility trol inputs as either a stereo-linked pair or as independent
mono inputs.
Show files created in previous versions of software preserve all
mono matrix settings in working memory and snapshots. • When linked, level and source on/off controls are linked.
Loading a Show file containing stereo-linked Matrixes in a • When unlinked, discrete level and on/off controls affect
previous version of software preserves all date except Matrix each individual channel.
master link status.
Stereo inputs (such as stereo groups, Mains LR, and ste-
reo-linked auxes) are linked by default, such as after a Clear
Settings
Console operation. Adjacent inputs can be linked or unlinked
You can copy and paste settings between mono and stereo at any time, in Config or Show mode.
Matrixes, and use the Replace with Mix command, by
right-clicking on the Matrix and choosing Copy, Paste, or Re- To link or unlink inputs to Matrix mixers:
place with Mix from the menu. 1 Go to the Outputs page, and click to display the Matrix
mixer.
Copy and Paste
2 Click the checkboxes below any adjacent inputs to link or
Copy/paste only applies to master strip settings (fader, mute, unlink them. A check mark in the checkbox indicates a linked
polarity, delay, direct out). Mix parameters and mix sources input source; an empty checkbox indicates unlinked sources.
are handled separately.

Replace

You can use the right-click menu to Replace mixer settings be-
tween mono and stereo Matrixes.
.

From To Result
Click to link or unlink
Mono Mono All mix parameters and mix
sources applied
Link controls in the Outputs page
Mono Stereo All mix parameters and mix
sources applied; Pans default to Relinking and Offsets
center
When inputs are relinked, their level and on/off state will
Stereo Stereo All mix parameters and mix change as follows:
sources applied
Level Each channel maintains any offset between the two
Stereo Mono All mix parameters and mix
sources except pan applied 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 set-
tings 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.

104 VENUE Profile Guide

Configuring User Inputs 4 For any assigned User Inputs, click the Pickoff pop-up menu
and choose the desired pickoff for that User Input source.
You can assign up to eight User Inputs to be available globally Choices include Top of Channel, Insert Return, and
to the Matrix mixers and, separately, up to eight User Inputs Pre/Post-Fader (for Input Channels) or Top of FX Return and
to be available globally to the PQ mixers. Pre/Post-Fader (for FX Returns).
Any of the eight User Inputs defined for the Matrix or PQ can
The Input Channel Fader Pickoff setting on the Options >
be assigned to any mixer input. User Inputs are assigned from
Pickoffs page determines globally whether the fader pickoff
the User Assign panel of the Matrix or PQ main page.
points are pre- or post-fader.

5 Click the User Assign button again to return to the main Ma-
trix screen.

Assigning Input Sources

User Input Assign
To assign input sources to a Matrix or PQ mixer:
1 Go to the Outputs page and click to select a Matrix or PQ
mixer.
Click to access
User Assign 2 Click the Input Source selector at the top of each Matrix or
PQ channel and select the desired input source. Choices in-
clude Auxes, Groups, Mains and any of the 8 available User In-
puts.

Currently selected Matrix mixer

User Input panel showing assignments for a Matrix mixer

To configure the User Inputs for a Matrix or PQ mixer:

Choosing an Input Source for a mixer
1 Go to the Outputs page and click a Matrix or PQ mixer to
navigate to that mixer page.
To use Input or FX Return channels in a Matrix or PQ
2 Click the User Assign button to display the User Assign
mixer, assign them as User Inputs, then assign those User
panel. Inputs as input sources.
3 For any of the eight available User Inputs, click the
on-screen Source pop-up menu and select an available source. Assigning Sources to Multiple Mixers
Choices include Channels, FX Returns, Stage and FOH audio
sources, and Pro Tools record/playback options (if any). You can select multiple Matrix and/or PQ mixers
simultaneously and assign sources to all selected mixers at the
same time.

To assign input sources to more than one Matrix mixer, or more

than one PQ mixer, at a time:
1 Go to the Outputs page and use Multi-Select (or the Shift
key) to select two or more Matrix mixers, or two or more PQ
mixers, in the fader display at the bottom of the screen.

2 Click the Source selector at the top of a mixer channel (1–8,

Left, Right, C/Mono, or User) and select the desired source.
Choosing a User Assign source for a Matrix mixer

Chapter 11: Matrix and Personal Q Mixers 105

 Resetting Matrix and PQ Mixer Input
Adjusting Matrix and PQ Mixer Input Controls
Controls
You can reset level, pan and stereo link settings for any Matrix
or PQ mixer. Input source assignments persist.
Matrix and PQ Mixer Input Levels
The levels for the first eight input sources (or “sends”) of a Ma- To reset a Matrix or PQ mixer parameter to its default value:
trix or PQ mixer are controlled by the Output Encoders. 1 Select one or more Matrix or PQ mixers you want to change.

The eight Output encoders control the input levels of the cur- 2 Right-click the encoder on-screen and choose Reset.
rently selected Matrix or PQ mixer input sources.
To reset all Matrix or PQ mixer parameters to their default
values:
1 Select one or more Matrix or PQ mixers you want to change.

2 Click the pop-up menu at the bottom of the mixer area and
choose Reset Mix.

Matrixes

Resetting a mix
Banking Matrix mixers to the Output faders

To control mixer input source (“send”) levels on the console: Clearing Matrix and PQ Mixer Settings
1 Press the Matrixes switch or the Personal Qs switch in the You can clear mixer input assignments to quickly set all the
Output fader assign section. input sources to None.

2 Press a Select switch for a Matrix or PQ to select that mixer

To clear Matrix or PQ input assignments:
and view its inputs. Input parameters are shown on the top
row of the Output LCD. Input source levels are controlled by 1 Select one or more Matrix or PQ mixers you want to clear.
the encoders, and output levels are controlled by the faders. 2 Click the pop-up menu at the bottom of the mixer area and
3 Press the encoder to turn that mixer input source on or off. choose Clear Mix Sources.

4 Turn the Output encoders 1–8 to set the level for the first
eight input sources assigned to the currently selected Matrix Copying Matrix and PQ Mixer Input Settings
or PQ mixer. You can copy mixer settings from one Matrix or PQ mixer to
5 To adjust source inputs 9–12, press the Next Page switch to another mixer of the same type. This lets you quickly dupli-
bank those sources to Output Encoders 5–8. To return to cate monitor mixes or other signal feeds.
sources 1–8, press the Prev Page switch.
Copying mixer settings overwrites all the settings on the
destination mixer.
Matrix and PQ Mixer Input Pan
To copy settings between mixers:
The Matrix and PQ mixer input pan controls adjust the pan-
1 Select the Matrix or PQ mixer that you want to be the des-
ning of each mixer input across the stereo outputs of either a
linked stereo Matrix mixer or PQ mixer (PQ mixers are always tination of the copied settings so that it is displayed on-screen.
stereo). 2 Click the pop-up menu at the bottom of the mixer area,
choose Replace With Mix and Mix Sources From.
To control Matrix send pan:
3 Choose the Mtx (Matrix mixer) or PQ from the sub-menu
1 Press the Matrixes switch in the Output fader assign section. whose settings you want to copy to the current mixer.
2 Press an Output channel Select switch to select a Matrix.

3 Press the Pan switch located below the Prev Page and Next
Page switches.

4 Adjust the Output Encoder 1–8 to adjust pan on Matrix in-

puts 1–8. To access inputs 9–12 for the current mixer, press the
Next Page switch.

106 VENUE Profile Guide

 Delay Compensation with Matrix and
Adjusting Matrix and PQ Mixer Output PQ Mixers
Controls
VENUE automatically compensates for the delay offsets that
can arise when combining different signal paths within a Ma-
Matrix and PQ Mixer Output Levels trix or PQ mixer.
Matrix and PQ output levels are controlled by the Output fad-
ers. Additional Information about Delay Compensation
• The overall latency through a Matrix or PQ mixer is de-
To control mixer output levels: termined by the path with the highest latency.
1 Press the Matrixes or PQ switch to bank Matrix or PQ mixers • All inputs within a Matrix or PQ mix are guaranteed to be
to the Output faders. phase accurate, but mixes are not necessarily aligned to
each other. This ensures that all mixes are not penalized
2 Adjust the fader corresponding to the output level you want in the case of one or more exceptionally high-latency sig-
to change. nal paths.
• Delay compensation only accounts for a channel’s
PQ Mixer Output Limiter post-insert pickoff. Channels that feed User Inputs and
Auxes (pre-insert) will not be fully compensated for.
A limiter can be applied to the output of PQ mixers. PQ output
limiter controls appear on-screen only. (Matrix mixers do not See also “Settings for Delay Compensation” on page 61.
have output limiters.)

To use a limiter on the output of a PQ mixer: Snapshot Data and Parameters for
1 Go to the Outputs page. Matrix Mixers
2 Select a PQ channel to display the mixer you want to con- Snapshots can store and recall all source assignments of each
figure. Matrix and PQ mixer when the MTX (Matrix) or PQ data type is
3 Click the on-screen Limiter In button to engage the limiter. scoped. In addition, all User Input assignments are stored, let-
ting you reconfigure Matrix or PQ mixers and User Input as-
4 Drag the on-screen Limiter knob to set the limiter threshold. signments on a per snapshot basis, if desired.

The following table describes what can be stored and recalled

Stereo-Linked Matrix and PQ Mixer Output in each snapshot when the MTX and PQ data type is scoped.
Balance
Table 12. Snapshot data types and parameters for Matrix and PQ
PQ Mixers and stereo-linked Matrix mixers provide a balance
Snapshot
control for controlling the balance of the mixer output signal Included Parameters (for Each Scoped Channel Strip)
Data Type
across its stereo outputs. (Mono Matrix mixers have mono
outputs, so they do not have Balance controls.) MTX Mixer Input Sources, User Input Assignments (global
to all Matrixes), and pickoffs; Mixer Input level, Mixer
Use the on-screen Balance encoder in the Outputs page of all Input on/off state and Mixer Input Link state
Matrix or PQ mixers if you need to balance levels.
PQ Mixer Input Sources, User Input Assignments (global
to all PQs) and pickoffs; Mixer input level, pan, and
To control Matrix or PQ mixer output balance: on/off state, Mixer Input Link state, Limiter threshold
and LImiter in/out
1 Target the stereo-linked Matrix or PQ mixer output channel
by pressing its Select switch in the Output Faders section.
You cannot snapshot link state of Matrix outputs.
2 Click and adjust the on-screen Balance encoder in the Out-
puts page for the targeted PQ mixer. The Recall Safe tab of the Snapshots page provides two data
“Mix” data types that let you discretely “safe” source and/or
Matrix Mixer Output Delay user input assignments to prevent them from being changed
with a snapshot recall.
A variable delay (0–500 ms) can be applied to the output of
Matrix mixers. For instructions, see “Output Delay” on For complete information on VENUE snapshots, see
page 84. Chapter 21, “Snapshots.”

Chapter 11: Matrix and Personal Q Mixers 107

 Working with a PQ Controller
When an optional Personal Q remote control system is con-
nected to a VENUE system, it can be used to adjust the con-
trols in the Personal Q mixers from a remote location.

For complete instructions on connecting and using PQ Con-

trollers, refer to the Personal Q Controller Guide, included with
the PQ Controller system.

Controller Detection
When a PQ Controller is detected, the Controller Detected indi-
cator lights in the corresponding Personal Q mixer on-screen
window.

PQ Controller Detected indicator in PQ mixer

Controller Lockout
Lockout From Console The PQ Controller can be locked out by
clicking the on-screen Lockout From Console button in any of
the PQ mixers. When this Lockout button is engaged, the PQ
Controller cannot adjust PQ mixer controls. The performer us-
ing the PQ Controller cannot override this lockout from the
controller.

Lockout From Controller Users can lock their PQ Controllers to

prevent inadvertent changes to controller settings. When this
is done, the on-screen Lockout From Controller indicator lights
in the corresponding PQ mixer. This function does not lock
out control of the PQ mixer from the console.

Calling the Console Operator from the

PQ Controller

To call the console operator from a Personal Q Controller:

 Press the Master Volume encoder knob.

A call message appears on the Profile console display that

identifies which PQ Controller is calling. The Call LED on the
PQ Controller flashes until the message is cleared from the
console display.

108 VENUE Profile Guide

Chapter 12: Patchbay

The main tools and sections of the Patchbay screen are the
Accessing the Patchbay following:

To show the Patchbay screen:

Tabs
 Press the Patchbay switch, located in the View Modes sec-
tion, or click the Patchbay tab on-screen. 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 Click to display and patch Inputs, Outputs, or Directs (Direct
channel name display. The screen automatically jumps to the Outputs). Other options in the Patchbay screen change to re-
corresponding Patchbay screen (whether an input, output, or flect the currently selected I/O tab.
bus).
Channel Type Tabs

Click these tabs to select and display specific types of chan-

nels, as available for the currently selected I/O. The following
Channel
Routing table shows the available Channel Types for the current I/O.
indicator
Jump to Patchbay I/O tab Channel Types available

Inputs Channels, FX Returns

Overview of the Patchbay Outputs Groups, Auxes, Matrix, PQ, Mains

Directs Channels, FX Returns, Outputs

The Patchbay screen lets you patch hardware I/O to input and
output channels. Inserts Channels, FX Returns, Outputs

Hardware Tabs
Hardware tabs
Click these tabs to display the hardware inputs and outputs
available for the current I/O and Channel Type. These repre-
I/O sent the physical inputs and outputs of the system.
tabs
Choices include Stage audio inputs and outputs (Mix Rack or
Stage Rack), FOH (local) inputs and outputs (Mix Rack or FOH
Rack), and Pro Tools playback/record option inputs and out-
puts, if any. Available hardware inputs and outputs are based
Channel
controls on channel type selection, system configuration and hard-
ware device status. See “Unavailable I/O” on page 110.

Channel Type tabs

Patching Grid
Patchbay page (Inputs tab shown)

Chapter 12: Patchbay 109

 Patching Grid Unavailable hardware I/O appear grayed out in the patchbay
and italicized in all routing pop-up lists. It is possible to make
The Patching Grid shows hardware I/O across the top, and assignments to unavailable hardware I/O.
VENUE channels down the left side. The available channel
tabs and choices are determined by the currently selected I/O The VENUE Standalone software provides additional display
tab and Channel type(s). The grid squares represent patch options for hardware I/O (including unavailable I/O).
points between hardware I/O and VENUE mixing channels.
See Chapter 24, “Using the Standalone Software.”
By default, hardware inputs are routed in a 1-to-1 pattern to
input channels. For example, Stage inputs 1–48 appear on In- Assigned I/O
put Channels 1–16 (Bank A), 17–32 (Bank B) and so on.
When a hardware connection is assigned, its connection is
dimmed in all Patchbay screens. This lets you see which hard-
Channel Controls ware connections are in use without having to switch back
and forth between Patchbay screens. You can also use the
These controls mirror the controls for the currently selected
dimmed column number indicator to jump to the Patchbay
channel. For example, when showing Inputs, the Channel
tab for the existing assignment (for more information, see
controls let you adjust input gain, polarity, phantom power,
“Shortcut for Locating Assignments” on page 113).
HPF, Direct Out, and basic level without leaving the Patchbay.

Text Display of Patch Source and Destination

Channel Direct Outs
Above the grid tabs are “from” and “to” text display fields that
The channel area in the Patchbay provides access to Direct
display the full text names of hardware I/O and channels.
Out controls.

To view full names of a patch source and destination:

To adjust Direct Output level from the Patchbay:
 Place the cursor over a Channel Name.
1 In the Patching Grid, patch the channel Direct Out to an
available output. Channel Name Source Destination
2 In the channel controls, adjust the on-screen Direct Output
encoder.

Adjusting Direct Output level from the Patchbay Channel source and destination display

If the channel is already routed, its source and destination as-

Visual Indicators and Displays signments appear directly above the Patching Grid. An aster-
The Patchbay uses the following visual conventions in all its isk at the end of a destination name indicates a multiple out-
pages and tabs. put assignment. See “Multiple Input and Output Assignments
in the Patchbay” on page 112.
Unavailable I/O
The Patchbay shows hardware tabs for all possible configura-
Naming Channels from the Patchbay
tions. The Patchbay indicates I/O that is offline or unavailable Channel names can be changed from the Patchbay. Channel
by graying out the columns beneath that device. names can be up to 32 characters in length. When displayed
on the console, names are abbreviated to fit the display.

To name or rename a channel from the Patchbay:

1 Double-click the channel name.

2 Type a new name and press Enter on your keyboard.

Unavailable I/O When naming channels in the Patchbay, press Tab on the
Unavailable I/O (grayed columns) keyboard to go to the next channel and Shift+Tab to go to
the previous channel.

110 VENUE Profile Guide

Type Text Search To scroll the Patching Grid, do one of the following:

Type Text search lets you use the keyboard for fast navigation  Click the up/down or left/right Patching Grid scroll arrows
to a channel. You can enter the first characters of a channel to move square by square.
name or the absolute channel number to target that channel  Click the up or down Patching Grid double arrows to move
on the ACS. screen by screen.

To search for and select a channel:  Right-click in the Patching Grid and drag in any direction.

1 Type the first few letters, full name, or channel number of

the channel. For example, type “s” to go to the first channel
beginning with the letter s (such as Snare).

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

Avoid giving channels names that begin with numbers dif-

ferent from the absolute channel number. When you type a
number, VENUE navigates to absolute channel numbers re-
Scrolling the Patching Grid by right-clicking and dragging
gardless of the channel name.

Assigning Channels in the Patchbay

Navigating the Patchbay
To assign channels in the Patchbay:
Navigating to Channel Types
1 Go to a Patchbay page by clicking the appropriate I/O tab,
The Patchbay uses multiple tabs to access different hardware Channel Type tab, and Hardware tab.
I/O and channel types. For example, the Inputs screen pro-
2 Place the cursor over the Patching Grid. The cursor changes
vides Channels and FX Returns tabs for you to patch these dif-
to a crosshair, and lines extend above and to the left of the cur-
ferent channel types independently.
sor location to identify the column and row.

Examples 3 Click in the row for the channel and in the column for the
hardware I/O source.
To show Inputs:
 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 Re-
turns tab. Shift-Click to select and show multiple types at
once. Routing a hardware input to an Input Channel

4 Click and drag vertically, horizontally, or at an angle to as-

To navigate to a different hardware source: sign multiple patch points in a single action.
 Click the appropriate Hardware tab across the top of the 5 Repeat as needed.
Patching Grid.
Patchbay Click and Drag
Scrolling in the Patchbay
You can quickly select a range of crosspoints in the Patchbay
To scroll through the channel list (vertically): grid in one operation with a left-click and drag of the cursor.
You can click and drag horizontally, vertically, and at 45 de-
 Move the cursor over a channel name at the left of the gree angles in any direction.
Patching Grid, then press the Up or Down Arrow keys on the
keyboard. You cannot undo changes to the Patchbay grid.

To scroll through the hardware I/O list (horizontally): To use click and drag in the Patchbay grid:

 Move the cursor over a hardware I/O channel at the top of 1 Left-click on the crosspoint defining the start of the range.
the Patching Grid, then press the Left or Right Arrow keys on
the keyboard.

Chapter 12: Patchbay 111

 2 Continue to hold the left-click button, then drag horizon- 3 Click additional grid squares in the same column to assign
tally (to populate a row), vertically (to populate a column), or the source to additional channels. The selected hardware in-
horizontally and vertically (a 45 degree angle). put is routed to each of the assigned Input Channels or FX Re-
turns.
3 Release the left-click button when the destination cros-
spoint 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.
Multiple input
assignments
Using the Arrow Keys to Assign Channels
You can use the Arrow keys to assign routing.

To assign channels using the Arrow Keys on the keyboard: A hardware input routed to multiple Input Channels

1 Place the cursor over the Patching Grid so that the cursor To assign an Output bus to multiple hardware outputs:
changes to the crosshair.
1 Go the appropriate Output tab in the Patchbay.
2 Press the Left or Right Arrow keys to move the crosshair to
2 Click in the Patching Grid to assign the Output bus to the
the next or previous hardware I/O column; press the Down or
first hardware output.
Up Arrow keys to move the cursor to the next or previous
channel. 3 Click additional grid squares in the same row to assign the
same Output bus to additional hardware outputs. An asterisk
3 When the crosshair is over the correct square in the grid,
(*) appears at the end of the displayed destination to indicate
press Enter to assign the patch.
the multiple routing.

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 hard-
ware outputs.

Stage inputs assigned to multiple channels share a common

Multiple output
preamp gain. Adjusting one channel's gain automatically ad- assignments
justs all other channels. All other channel functions (such as An Output bus assigned to multiple hardware outputs
EQ, dynamics, and panning) remain independent, making it
convenient to have a channel appear on one input strip to bus
Choosing the Digital Source (AES or ADAT)
and process it for the house mix, and on another input strip
with different processing for monitor mixing. If your system includes a DSI digital input card, do the follow-
ing to specify the digital source.
Using multi-assigned inputs requires additional input chan-
nels be available in the current System Configuration. If you To configure a digital input for AES or ADAT:
are using all available stage inputs, you must increase the
1 In the Patchbay, route a DSI or other digital input to an in-
number of Input Channels in the Options > System page. (To
learn how to configure the number of Input Channels, see put channel.
“System Configuration Settings” on page 58.) 2 Click the Inputs tab and navigate to the input channel being
fed from the DSI input.
On VENUE Mix Rack systems, choosing the 64 channel set-
ting gives you additional input processing channels beyond 3 Click the ADAT button on-screen, in the channel Input con-
the number of hardware inputs (48). Use this setting to be trols section. When lit, ADAT input is active; when unlit, AES
able to multi-assign inputs to input processing channels. input is active. The corresponding channel’s Source LED on
the Stage Rack DSI Card lights to indicate AES or ADAT.
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 In-
put Channel or FX Return.

112 VENUE Profile Guide

Warning when Stealing Inputs or VENUE System Information Export
Outputs in the Patchbay The System Information Export feature lets you generate an
The Patchbay indicates hardware outputs that are already in HTML (text) document that details the system’s hardware,
use by dimming the column number for that physical output. software and currently loaded Show file configurations. This
In addition, a dialog is shown if the patch will steal a hardware document can be read by any Internet browser, such as Inter-
input or output that is already in use, asking you to confirm or net Explorer, Mozilla Firefox or Safari.
cancel the reassignment.
The patch list can also be exported separately (for more in-
formation, see “Patch List Export” on page 114).
To confirm a reassignment, do one of the following:
 Click Assign when prompted to confirm the reassignment. The System Information document can be sent directly to pro-
duction or rental companies to describe your exact console
– or –
needs. Once exported, the information can be re-formatted as
 Click again on the same patch point. desired by copying and pasting the data into a word process-
ing or spreadsheet application.
To cancel a reassignment, do either of the following:
 Click Cancel to leave the patchpoint unchanged. To export VENUE System Information:
1 Insert a USB key disk into a USB port on the system.
 Click any other point in the grid (the Patchbay grid remains
active, even when the Confirm Assignment dialog is open 2 Go to the Options > System page.
on-screen).
3 Click the Info button.

Export VENUE System Information button in Options > System

4 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
Warning when reassigning an output that is already in use
Next Disk to cycle through each available disk until the
correct one is selected.
To suppress the reassignment warning dialog, hold Default • Click Save to proceed and export system info to the se-
on the console or Alt on the computer keyboard while click- lected USB disk.
ing in the patch grid to change the assignment.
• Click Cancel to dismiss the dialog without exporting.

Shortcut for Locating Assignments 5 Click OK to confirm the export procedure.

Before reassigning in the Patchbay, you may want to dou- You can now remove the USB key disk —from there, you can
ble-check the existing assignment to the desired hardware transfer the exported file to a personal computer for printing,
output: formatting, archiving or distribution.

To identify the bus or channels currently assigned to a hardware Standalone Software

output:
When exporting System Info from the Standalone software,
 Click on any dimmed (already assigned) column number at the exported System Information file is displayed immediately
the top of the Patchbay. The Outputs tab containing the as- using the default browser installed on your computer.
signment is automatically revealed.
VENUE System Information Contents
Click
Exported VENUE System Information is saved as an HTML
file, and the file name includes the date and time of the ex-
Clicking a column number to “go to” its current assignment port. Contents include the following (not all data will be gen-
erated from the Standalone software):

Chapter 12: Patchbay 113

 VENUE 4 Do any of the following:
• If you have more than one USB key disk connected, make
System Information Lists the date and time the Info file was
sure the correct USB one is selected. If it is not, click Next
generated.
Disk to cycle through each available disk until the correct
Console Lists the current hardware configuration and in- one is selected.
stalled options for the console, including ECx and FWx cards • Click Save to proceed and export Patchbay info to the se-
(if any). lected USB key disk.
• Click Cancel to dismiss the dialog without exporting.
Stage Configuration Lists card slot contents for each detected
Stage Rack or Stage I/O slot. 5 Click OK to confirm the export procedure. You can now re-
move the USB key disk and transfer the export file to a per-
Installed Plug-Ins Lists version and other information (as re-
sonal computer for printing, formatting, and distribution.
ported by each plug-in) for all currently installed plug-ins. The
list groups plug-ins by whether they are Enabled or Disabled. When exporting a Patch List from the Standalone software,
Enabled and In Use plug-ins appear at the top, followed by the generated HTML file is automatically opened using
any remaining enabled (but not In Use) plug-ins. Plug-in in- your default Internet browser (such as Internet Explorer,
formation is not available when exporting from the Stand- Mozilla Firefox or other).
alone software.
Contents of Exported Patchbay Information
Show File Information Lists the name, file path, date and time
of the most recently loaded Show file. Exported Patchbay information is saved as an HTML file, and
the file name includes the date and time of the export. Con-
System Configuration Lists information found on the Options tents include the following:
> System tab.
VENUE Patch List
DSP Usage Lists the processes assigned to each DSP of each
Mix Engine card. Information is sub-divided by Mix Engine as Show Name, file path, date and time of most recently loaded
displayed on the Options > Devices tab. Show file.

Patch List Lists the contents of each Patchbay page. A com- Input and Output Patching
plete patch list is included in the System Information Export,
or a detailed patch list can be exported separately from the The patch list is divided into three sections: Stage, FOH, and
Patchbay (see next). Pro Tools (FWx).
• Stage inputs show global number 1-48, input name(s), card
slot and number.

Patch List Export • Stage outputs show global number 1-16 (or 32 on expanded
systems), output name, card slot and number.
The Patchbay export generates a patch list in an easily read-
• FOH (local) inputs and outputs show the physical in-
able format.
put/output name and number, where applicable.

To export Patchbay information: • Pro Tools inputs and outputs show all 18 possible input/out-
put assignments.
1 Insert a USB key disk into any USB port on the console.
• Unavailable channels are labelled N/A.
2 Go to the Patchbay page.
• Direct outs are identified uniquely.
3 Click the Export button on the Patchbay page.

Export button

Export Patchbay Information icon

114 VENUE Profile Guide

Chapter 13: Metering

VENUE provides signal metering on the channels, in the me- Compressor/Limiter Gain Reduction Meter
tering section, and on-screen.
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
Channel Meters the following scale:

Input and FX return channels provide a compressor/limiter Channel Compressor/Limiter gain reduction meter scale
gain reduction meter, an input level meter, and indicator LED Gain Reduction Color
LEDs for EQ, stereo, and gate status.
none 0 dB Off

Comp/Lim 1 (right) <= 3 dB Green

Gain Reduction
2 <= 6 dB Green

Input Level 3 (left) <= 12 dB Green

EQ Status LED
EQ In/Out Gate
A single red LED indicates EQ In/Out status as shown in the
Stereo
following table.
Input channel meters and LEDs

All console channel meters have higher resolution on-screen Color EQ Status
equivalents that appear in both the targeted channel controls
(none) Not in circuit
and above the faders in the channel overview.
Red In circuit
Meter ballistics and clip margin can be set for channel meters.
For more information, see “Metering Options” on page 118. Stereo Channel LED
A single yellow LED indicates a stereo input channel. The ste-
Input Channels and FX Returns reo channel LED flashes if a 12 dB or greater offset is detected
between left and right inputs.
Input Level Meters
Each input and FX return channel strip has a 6-segment Input Color Channel Status
Level meter that shows input levels from bottom to top, ac- (none) Mono
cording to the following scale:
Yellow Stereo
LED Level Colors
Gate Status LED
1 (top) Clip Red
+15 dB Yellow A single bi-color LED shows the current Expander or Gate sta-
tus, as shown in the following table.
2 +6 dB Yellow

3 0 dB Green Color Expander Status Gate Status

4 –6 dB Green (none) Not in circuit Not in circuit

5 –12 dB Green Green 3 dB gain reduction Gate Open & Hold

6 (bottom) –30 dB Green Yellow 21 dB gain reduction Gate Release

Red > 21 dB gain reduction Gate Closed

Chapter 13: Metering 115

 Bank Clip Indicators Selected Channel Gain Reduction Meters
The Clip LED at the top of Input Channel and FX Return The three dynamics gain reduction meters in the ACS section
channels lights when clipping occurs on a hidden fader bank. show gain reduction for the built-in Compressor/Limiter
The channel position of the Clip indication corresponds to (Comp/Lim), the built-in Expander/Gate (Exp/Gate), and any
the position of the off-bank channel. The Clip LED flashes to applicable Dynamics plug-in on the selected channel.
indicate momentary clips, and lights solid for sustained clip-
ping.
Compressor/Limiter

To locate the clipped channel: Expander/Gate

 Press the Bank switches until the Channel Input Level me-
ters show clipping. Plug-in

For more information on clip indication, see “Metering Op- Selected Channel Gain Reduction meters
tions” on page 118.
Comp/Lim and Plug-In Gain Reduction Meters
On the ACS Comp/Lim and Plug-In gain reduction meters, the
ACS Input and Dynamics Meters 6 LEDs show dynamics gain reduction from right to left, ac-
cording to the following scales
Selected Channel Level Meters ACS gain reduction meter scale for comp/lim/plug-in

The Selected Channel meters in the ACS include two 10-seg- LED Gain Reduction Color
ment level meters: (none) 0 dB (none)

1 (right) 1.5 dB Green

2 3 dB Green

3 6 dB Green
Meters
Solo 4 9 dB Green

Stereo 5 15 dB Yellow

Selected Channel meters and LEDs 6 (left) 21 dB Yellow

These meters show mono or stereo levels on the selected chan-

nel. The dual, 10-segment, bi-color LED meters indicate input
Expander/Gate Gain Reduction Meter
level for the currently targeted or Solo’ed channel. On the ACS Exp/Gate gain reduction meter, the 6 LEDs show
Selected Channel Meter Scale dynamics gain reduction from right to left, according to the
following scales
LED Level Color
ACS gain reduction meter scale for exp/gate/plug-in
1 (top) Clip Red
+15 dB Yellow LED Gain Reduction Color

2 +9 dB Yellow (none) 0 dB (none)

3 +3 dB Yellow 1 (right) 3 dB Green

4 0 dB Green 2 6 dB Green

5 -3 dB Green 3 12 dB Green

6 -9 dB Green 4 21 dB Green

7 -15 dB Green 5 36 dB Yellow

8 -21 dB Green 6 (left) 60 dB Yellow

9 -30 dB Green

10 (bottom) -60 dB Green

116 VENUE Profile Guide

 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 1–8, Aux 9–16, Personal
Qs, Matrixes or Groups). The currently assigned bus is indi-
cated 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
Meters LED is lit.

All of the 10-segment meters in the meter bridge show levels

according to the following scale:
Table 14. Meter bridge 10-segment meter scale

LED Level

1 (top) +15 dB
(red=clip)
Bus output LEDs and Select switch
2 +9 dB

3 +3 dB Main Output Meters

4 0 dB The three Main output meters in the meter bridge show out-
put levels for the three Main outputs (either in L–C–R or in
5 –3 dB L–R+M format).
6 –9 dB

7 –15 dB

8 –21 dB

9 –30 dB

10 (bottom) –60 dB

Main output level meters in the meter bridge

Bus Output Meters
The 10 LEDs show input levels from bottom to top, according
The eight output level meters in the meter bridge are assign- to the scale shown in Table 14 on page 117.
able as a unit for metering of Groups, Auxes, Matrixes, and
Personal Qs.
Metering the Solo Bus
The Bus Output meters can automatically follow the current
Output fader bank assignment (indicating level for the cur- Metering Soloed Channels
rently selected Output bus), or be assigned to a bus output for
persistent bus level indication. Solo bus metering depends on the type of channel being
soloed.
Stereo Output Metering
Single Channels
With stereo Groups the output level meters in the metering
section show level for only the highest of the left and right In PFL, AFL, or SIP (solo-in-place) modes, a single soloed chan-
channels. nel is metered in the same way as if the channel were targeted
on the ACS.
To see level for both the left and right channels of a stereo out-
put, refer to the on-screen meters, or target the channel on the
ACS and use the Selected Channel Level Meters.

Chapter 13: Metering 117

 Multiple Channels Peak Hold Time
In PFL or AFL mode, when multiple channels are soloed, the Peak Hold Time can be set within a range of 0–20 seconds.
left and right channels of the Solo bus are metered on the Se-
lected Channel meters, pre-Solo Trim control. To set the Peak Hold Time:

In SIP mode, when multiple channels are soloed, the Left and 1 Go to the Options page and click the Interactions tab.
Right Main bus meters are mirrored on the Selected Channel 2 Under Meter, enter a value for the Peak Hold Time.
meters.
3 Press Enter on the keyboard.
Dynamics Key Listen

When Key Listen is activated, the left and right channels of Clipping Indication
the Solo bus are metered on the Selected Channel meters,
VENUE meter clip indicators are proximity warnings that
pre-Solo Trim control.
show when an input or output signal reaches or exceeds the
configured Clip Margin.
Solo Clip Indication
Clipping can occur at several points throughout the signal
When the Selected Channel meters are showing levels of a sin- chain. A clip at any one of these points is indicated by lighting
gle soloed channel, the clipping information in the metering the top LED red on the meter. For more information on the lo-
section LEDs mirrors that on the channel itself. cation of clip detect points, refer to Chapter 26, “Signal Flow
Diagrams.”
When the Selected Channel meters in the metering section
are showing Solo bus levels, the meter LEDs turn red to indi-
cate clipping on the Solo bus. Clip Margin
The Clip Margin setting lets you configure the amount of
headroom you want before clipping indication begins. Clip
Metering Options Margin is expressed as dB below maximum (where maximum is
a peak level of +20 dBVU).

Meter Display Clip Margin can be set within a range of 0 dB to 30 dB below

maximum, and is configured separately for inputs and out-
The following display options can be configured for meters.
puts.
These options affect all meters on the console.

To set the Clip Margin:

1 Go to the Options page and click the Interaction tab.

2 Under Meter, enter values for Input Clip Margin Below Max and
Output Clip Margin Below Max.

3 Press Enter to confirm the setting.

Clip Hold Time

Metering options in the Interactions tab of the Options page
The Clip Hold Time determines how long a clip indication
Meter Ballistics lasts after the last clipped signal. Clip Hold Time can be set
Meters can be set to operate in the following modes: within a range of 0–20 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 de-
1 Go to the Options page and click the Interaction tab.
cay is slower than in Peak mode, providing an average reading
of the metered signal. A single LED shows the peak level for 2 Under Meter, enter a value for the Clip Hold Time.
the designated Peak Hold Time.
3 Press Enter to confirm the setting.
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.

118 VENUE Profile Guide

Chapter 14: Solo and Monitor Busses

Solo Bus Modes Selecting a Solo Mode

Three Solo modes are offered: Pre-Fader Listen (PFL), The Solo mode can be selected from the Solo/PFL section or
After-Fader Listen (AFL) and Solo In Place (SIP). on-screen.
• In AFL or PFL mode, soloing only affects what you hear
on the dedicated stereo AFL/PFL Solo (Cue) bus, which To select the Solo mode from the console, do one of the
feeds the Monitor Bus. following:

• In Solo In Place mode, soloing only affects what you hear • Press the Stereo AFL switch to enter AFL Solo mode.
in the Main busses. • Press and hold the Solo In Place switch for at least 2 sec-
onds to enter SIP mode.
Pre-Fader Listen (PFL) • Press a lit Solo mode switch to turn it off. When no
switch is lit in the Solo/PFL section, the system is in PFL
PFL Solo mode sends the signal from explicitly soloed input
mode.
channels and FX returns to the AFL/PFL Solo (Cue) bus. The
signal is post-insert, pre-fader and pre-mute.

Mono input signals are sent to both sides of the Solo (Cue)
bus, and the left and right sides of stereo input signals are sent
to the corresponding sides of the Solo (Cue) bus.
Level Trim
PFL is the default Solo mode.

After-Fader Listen (AFL) Solo Clear Stereo AFL

AFL Solo mode sends the signal from explicitly soloed chan- Solo In Place Mix to Monitors
nels and solo-safe inputs to the AFL/PFL Solo (Cue) bus. Solo-
ing of output busses is always AFL.
Solo bus controls
In AFL Solo mode, both input and output signals are sent to
To select the Solo mode on-screen:
the Solo (Cue) bus post-fader and post-pan/balance, and are
always panned to stereo even if the Main busses are config- 1 Go to the Options page and click the Busses tab.
ured in L–C–R mode.
2 Under Solo and Monitor Operations, click the Type pop-up and
choose the desired Solo mode.
Monitoring Aux and Variable Group Busses with AFL

Linked Aux busses and Variable Group busses use true stereo
AFL. When you solo a linked Aux bus, the two busses are Type
heard as a stereo pair on the Solo (Cue) bus.

Mono Aux busses and Variable Group are heard as dual mono
on the Solo (Cue) bus.

Solo In Place (SIP)

SIP mode applies to input channels and FX returns only. Solo Choosing the Solo mode in Options > Busses
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 14: Solo and Monitor Busses 119

 Solo States and Modes when Loading Shows
Channel Solo States When you load a Show file, all solos are Auxes Follow
cleared. Solo states are not saved with Show files. AFL

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 AFL Solo mode.
Solo and Monitor Operation settings in the Options > Busses page.

3 Solo an Aux output bus by pressing its AFL switch.

Solo Operation Options

To cancel display of Aux send controls:
 Unsolo the bus, or select any other parameter for the input
Momentary or Latching Switch Operation
encoders.
Channel solo switches can operate with momentary or latch-
ing behavior. AFL Follows Auxes/Variable Groups

To engage momentary solo on a channel: When the AFL Follows Auxes/Variable Groups option is selected,
assigning encoders to an Aux/Var Group automatically soloes
 Hold the solo switch for more than one second. Release the
that bus. The AFL Follows Auxes setting is stored and recalled
solo switch to unsolo the channel.
with each Show file. By default, the option is off (not selected).

To latch solo on a channel:

To set AFL to follow Aux encoder assignment:
 Press and release the solo switch. Press the switch a second
1 Go to the Options > Busses tab and select the AFL Follows
time to unsolo the channel.
Auxes/Variable Groups option.

2 In the Input section, assign encoders to an Aux Send bus.

Auxes/Variable Groups Follow AFL and AFL
Follows Auxes/Variable Groups To cancel (unsolo) in AFL Follows Auxes mode:
You can customize how encoder banking and AFL interact.  Press the flashing Solo Clear button

Auxes/Variable Groups Follow AFL The Events List can be used to assign the Solo Clear func-
tion to a footswitch or any other available trigger.
When the Auxes/Variable Groups Follow AFL option is selected,
soloing an Aux/Var Group bus by pressing its AFL switch as-
Auto Cancel and Input Priority
signs level and pan controls for that bus to the input encoders.
• With mono busses, level is assigned to the input encod- The Auto Cancel option determines whether Solo switches can-
ers. With stereo (linked) busses, level is assigned to the cel other soloed channels or are additive (latching). Input Pri-
encoders. ority determines whether or not soloed inputs replace soloed
• When Flip to Faders is pressed, level is flipped to the fad- outputs on the AFL/PFL Solo bus.
ers and pan for the Aux/Var Group bus (even numbered
send) is automatically mapped to the input encoders. To set Solo switch operation:
The pan button flashes while this mode is enabled. 1 Go to the Options page and click the Busses tab.

If the encoders were already flipped to the faders, flipped 2 Under Solo and Monitor Operations, select the options in any
status is maintained when an Aux bus is soloed. of the following combinations:

To set Auxes and Variable Groups to follow solo: Auto Cancel On, Input Priority Off A solo cancels all other solos
(inputs and outputs)
1 Go to the Options page and click the Busses tab.
Auto Cancel On, Input Priority On An input solo cancels all
2 Under Solo and Monitor Operation, select the Auxes/Variable
other soloed inputs; an output solo cancels all other output
Groups Follow AFL option.
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 so-
loed inputs temporarily replace soloed outputs.

120 VENUE Profile Guide

 Soloing VCAs
Solo Bus Operation
When you solo a VCA, its member channels are soloed. If the
VCA members include a combination of input and output
Soloing Channels channels, their solo status follows any Solo switch options.
Solo operation depends on the type of channel being soloed, See “Solo Operation Options” on page 120.
and on any selected Solo switch options. In all modes, a chan-
nel Solo switch lights to indicate that the channel is soloed. To solo the members of a VCA:
 Press the Solo switch on the VCA channels whose members
Input Channels you want to solo so that the Solo switch is lit.
Pressing a Solo switch on an input channel or FX Return sends
signal to the Solo (Cue) bus (when in PFL or AFL modes) or to Clearing Solos
the Mains bus (when in SIP mode).
Press the flashing Solo Clear switch in the Monitoring section
In SIP mode only, when a channel is soloed, all other channels to clear all soloed channels.
that are not soloed or solo safe are implicitly muted. Implicit
mutes are indicated by a flashing mute switch.

Output Busses

When the AFL switch in the Output section is pressed, signal Solo Clear
is sent to the AFL/PFL Solo bus. This applies to Groups, Auxes,
Matrixes, and Personal Qs. Outputs are always AFL.
Solo Clear

Soloing Single Channels Solo Bus Metering

To solo a single channel, do one of the following: When a channel or dynamics key input is sent to the Solo bus,
its signal is metered on the Selected Channel meters, tempo-
 Press the channel’s Solo switch so it is lit. The solo switch
rarily replacing any currently targeted channel. For more in-
latches on a momentary press.
formation, see “Metering the Solo Bus” on page 117.
– or –

 Hold the channel Solo switch for more than one second for
momentary solo. The channel will automatically unsolo when Solo Safing Channels
you release the switch.
Solo Safe is a state which prevents a channel from being im-
plicitly muted when any other channel is soloed. Only input
Soloing Multiple Channels
and FX return channels can be made solo safe. Solo safed
channels are automatically added to any explicitly soloed
To solo multiple channels, do one of the following:
channels. Solo Safe only applies to SIP and AFL modes. Solo
 With the Auto Cancel option enabled, press the Solo safe status is ignored in PFL mode.
switches on multiple channels simultaneously.
To toggle the solo safe status of Input Channels and FX Re-
 Hold Multi-Select (Shift) and press the Solo switches on one
turns, the input switches must be set to Solo Safe mode.
or more channels.
– or – To set Safe switches to control the Solo Safe function:

 With Auto Cancel disabled, press the Solo switches on mul- 1 Go to the Options page and click the Interaction tab.
tiple channels in any sequence. The Solo switches latch on.
2 Under Input Safe Switches, select Act as Solo Safes.

Toggling the Solo Status of Multiple Channels To toggle the solo safe status of a channel, do the following:
 Select one or more channels, then press the Safe switch in
To toggle Solo on multiple channels, do one of the following:
the Selected Channel Input section.
With Auto Cancel enabled, hold the Multi-Select switch
while pressing the Solo switches on channels to toggle. – or –

– or –  Click the on-screen Solo Safe button for the channel.

 With Auto Cancel disabled, press Solo switches in any se-

quence. The Solo switches latch on and off.

Chapter 14: Solo and Monitor Busses 121

 Assignable Monitor Output
The Monitor bus can be routed to hardware outputs and to
bus-fed plug-ins.

These feeds are in addition to the existing, dedicated Mon-

itor outputs on the Mix Rack and FOH Rack, and are taken
post-Monitor Speakers control and post-Monitor bus delay.

Hardware Outputs For routing to hardware outputs, the Moni-

tor (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 capa-
On-screen Solo Safe button bility to route monitor outputs to multiple cue stations (in-ear
The Safe switch and button flash to indicate the channel is mix and wedge mix), or to an outboard analyzer.
solo safe. When a channel is soloed because of its Solo Safe sta-
Bus-Fed Plug-Ins For routing to bus-fed plug-ins, the Monitor
tus, its Solo switch flashes.
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 Operation Monitor bus.

The Monitor bus outputs signal to both the near-field monitor

Routing the Monitor Bus to Additional Outputs
output (FOH Rack) and headphone output on the console.
The Monitor bus outputs can also be routed to hardware out-
To route the Monitor bus to additional outputs:
puts and to bus-fed plug-ins.
1 In the Patchbay, go to Outputs and click the Mains tab.

Monitor Bus Switching 2 Click in the grid to assign the Monitor output to the desired
destination.
The following signals can feed the Monitor bus, listed below
in order of priority: Key Listen, Solo (Cue) bus, 2-Track return, Solo In Place, when engaged, is simultaneously routed to
COM input, and the Mains mix. the Mains and Monitor busses.

Dynamics Key Listen Routing the Monitor Bus to Plug-Ins

Pressing a Key Listen button on-screen sends the key signal
To route Monitor output to a bus-fed plug-in:
from the targeted channel’s built-in dynamics processor to the
Monitor bus. 1 Go to the Plug-Ins page.

2 Make sure the desired stereo plug-in is installed and as-

Key Listen temporarily overrides the currently enabled Solo
bus operation (PFL or AFL), and replaces any other signal on signed to a rack slot.
the Monitor bus with the mono key signal. 3 Click the Plug-In Input selector at the top of the correspond-
ing rack slot, and choose Bus Outs > Mains > Monitor - stereo.
AFL/PFL Solo Bus
Plug-in outputs cannot be returned to input channels, in or-
In AFL or PFL mode, signal from any soloed channels is sent to
der to prevent feedback loops.
the Monitor bus. When any channel is soloed, the Solo bus
overrides the 2-Track return if it is enabled, or the Mains mix
if it is currently being sent to the monitors.

2-Track Return

If 2-Track input is enabled, any signal from those inputs is sent

to the Monitor bus. If Mix to Monitors is enabled, the 2-Track
input overrides it so you can monitor the 2-Track return with-
out having to disable Mix to Monitors. Assigning monitor output to a bus-fed plug-in

Mix to Monitors

The Mains mix (the signal present on the Mains busses) can be
sent to the Monitor bus.

122 VENUE Profile Guide

Sending the Main Mix to the Monitor Bus The following diagrams show the signal flow for PFL and AFL
modes.
Monitor Output from an L-C-R Main Mix
Level Trim (PFL)
The stereo Mix to Monitors signal is derived from the L–C–R
Input Channel
Main mix by adding a –3 dB signal from the Center channel to Solos (PFL)
the Left and Right monitor channels.
To Monitor/
+ Headphones
Monitor Output from an L–R+M Main Mix Output Channel
Solos (AFL)
In a L–R+M Main mix, only the Left and Right channels are
heard in the Solo bus.
Level Trim in PFL mode
To send the Main mix to the monitors:
1 Do one of the following:
• Press the Mix to Monitors switch in the Mains section. Input Channel
Solos (AFL)
– or –
• Go to the Options > Busses tab and select the Mix to Mon- To Monitor/
+ Headphones
itors option.
Output Channel
2 Turn the Monitor Speakers knob or the Headphones knob to Solos (AFL)
adjust the corresponding output level.

No Level Trim in AFL mode

Adjusting Solo Bus Level
PFL Solo bus levels can be controlled by the Level Trim knob
Adjusting Monitoring and Headphone Level
in the Solo/PFL section, and with the on-screen Level Trim con- Output levels for the near-field monitors and headphones are
trol. The trim amount is adjustable over a range of –20 dB to controlled by the corresponding volume knobs in the Moni-
+20 dB. toring section. You can also use the on-screen controls, or
map Cue to the Mains fader.
Because Level Trim only affects PFL signals, you can easily bal-
ance 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:

1 Solo a channel or press a Key Listen switch.
Monitoring controls
2 Do one of the following:
• Turn the Level Trim knob to control the amount of signal Adjusting Monitor Level and Delay
sent to the Monitor bus.
• Go to the Options > Busses tab and adjust the Level Trim To adjust Solo/Monitor level from the console Monitoring
setting in the Solo and Monitor Operations section. section:
 Adjust the Monitoring or Headphone level, as needed.

See also “Cue on Mains Fader” on page 124.

To adjust the Solo/Monitor level on-screen:

1 Go to the Options > Busses tab.

2 In the Solo and Monitor Operations section, adjust the Moni-

toring encoder.

Chapter 14: Solo and Monitor Busses 123

 You can apply an adjustable delay to the monitor outputs and Adjusting the Mains While Cue On Mains Fader is
headphone outputs to match the acoustic delay from the Enabled
main speaker system.
When Cue on Mains Fader is enabled, the Mains output level
remains at its last setting and remains accessible from the con-
To adjust monitor output delay:
sole and on-screen, as follows:
1 Go to the Options > Busses tab.

2 Adjust the Delay setting in the Solo and Monitor Operations Adjusting Mains with the Output Encoders
section. Be sure to click the In button beneath the on-screen Enabling Cue on Mains Fader puts Mains control on Output en-
encoder to enable Delay. When lit, the Delay setting is applied coders 1—3.
to the monitor output.
Mains
L R C/M (or L C R)
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 Out-

put encoders and on-screen in the Outputs page.
Cue
(Monitoring)
The Cue on Mains Fader setting is stored with the Show file.

To enable Cue on Mains: Bus control while Cue on Mains is enabled

1 Turn the Monitoring encoder fully counter-clockwise (off). While Cue on Mains Fader is active:
2 Go to the Options > Busses page. • Enabling Insert mode replaces the current Output en-
coder assignments with insert controls.
3 Under Solo and Monitor Operations, select the Cue on Mains
• Banking to Matrix or PQ replaces the current Output en-
Fader option.
coder assignments with the sources for the selected Ma-
trix or PQ.

Adjusting Mains On-Screen

You can use the controls in the Outputs page on-screen to se-
lect, mute, or adjust the level of any of the Mains busses (L, R
and C/Mono).

Select a Mains bus on-screen to target it in the ACS, then use

Cue on Mains
the selected channel controls to select, mute, or adjust the
level of the Mains busses.
Cue on Mains

The Mains fader now controls Monitoring level. The Mains Se-
lect 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.

You can set up an Event to toggle Cue on Mains on or off.

See Chapter 22, “Events.”

While Cue on Mains is enabled, the Mains busses remain

available on-screen, and can be targeted to the ACS.

124 VENUE Profile Guide

Talkback, 2-Track and Oscillator
Controls
Talkback Mic
You can assign Talkback microphone input, 2-Track source in- connector
puts, and the built-in Oscillator to any Input Channel or FX
Return. Talkback, 2-Track, and built-in Oscillator output can
Talkback
be routed to any output busses. switch
2-Track Level control
Using Talkback
Oscillator
The Talkback input on the console accepts signal from any dy-
namic or condenser microphone. On/Talk Route To Selected
switch

Assigning Talkback Microphone Input Talkback controls in the Talkback/Osc section

Activating Talkback Input and Setting Level

To assign Talkback input to an Input Channel or FX Return:
1 Go to the Patchbay > Inputs tab, then click the Channels tab To activate and set the level for Talkback input:
or the FX Returns tab.
1 Press the Talkback switch in the Talkback/Osc section so that
2 At the top of the channel grid, click the FOH tab. it is lit.

3 Click in the channel grid to assign the Talk input source to 2 Activate Talkback by doing one of the following:
an Input Channel or FX Return (listed on the left). • Press the On/Talk switch in the Talkback/Osc section.
• Click the on-screen In button in the Talkback section of
the Options > Misc page.

3 Set the Talkback input level by doing one of the following:

• Turn the Level knob in the Talkback/Osc section.
– or –
Assigning Talkback input to an Input Channel in the Patchbay • Drag the on-screen Level knob in the Talkback section of
the Options > Misc page.
Routing Talkback to an Output
To route Talkback directly to an output on-screen:
To route Talkback input directly to an output:
1 Go to the Options > Misc page and click the Route button in
1 Press the Talkback switch in the Talkback/Osc section so that
the Talkback sections.
it is lit.

2 Press the Route to Selected switch. The switch flashes to in-

dicate Route to Selected mode.

3 Press the Select switch on each of the output busses (Auxes.

Groups, PQs, Matrixes, or Mains) where you want to route
Talkback signal. The Select switches flash to indicate Talkback
assignment.
Talkback controls in the Options > Misc page
4 Press the flashing Route to Selected switch to confirm the as-
signment, or press the Cancel switch to cancel the assign- 2 Go to the Outputs page and click to select the desired output

ment. (it flashes briefly).

3 In the confirmation dialog that appears, click Route to con-

firm your assignment or click Cancel to cancel without chang-
ing the current routing.

Signals are routed to output busses post-mute and post fader.

You can designate a footswitch, Function switch or other

triggers to control Talkback. For more information, see
Chapter 22, “Events.”

Chapter 14: Solo and Monitor Busses 125

 Setting Talkback Dim Level 4 Click in the channel grid to assign the Com input source (at
the top right of the grid) to an Input Channel or FX Return
When Talkback is sent directly to an Output bus, the bus pro- (listed on the left).
gram material (minus the talkback signal) is automatically re-
duced by the amount specified in the Dim Level setting.

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 Routing Intercom input in the Patchbay
gain reduction) to 0 dB (no gain reduction).
Activating Intercom Input
Activating Phantom Power for Talkback Input
To activate the Com input so it is mixed with the Monitor bus:
The Talkback input has available +15V phantom power for us- 1 Route the Intercom input as described in the previous sec-
ing a condenser microphone. tion (“Routing Intercom Input” on page 126).

To apply phantom power to the talkback mic input: 2 Press the Talkback button in the Talkback/Osc section and
press the Level encoder to turn COM on/off (its LED ring
 On the back panel, move the Talkback Mic Phantom Power lights).
switch to the right.

Activating Phantom Power for Intercom Input

Using the Intercom (“Com”)
The Com input has available 15V phantom power for using a
The Intercom (“Com”) input on the Mix Rack or FOH Rack condenser microphone.
can accept input from any compatible dynamic or condenser
microphone. To apply phantom power to the Intercom microphone:

Com Mic
 On the back panel of the FOH Rack, move the Com Mic
Input Phantom Power switch to the right.
Com Mic
Phantom
Com Mic Gain Power To set the Intercom microphone input level:
 On the back panel of the FOH Rack, turn the Com Mic Gain
knob.

Using 2-Track Inputs and Outputs

Intercom controls
Analog and Digital 2-Track Inputs and Outputs are available.
When activated, the Intercom signal is mixed into the Moni-
tor bus after the source selectors in the Solo/PFL selection, so
Assigning 2-Track Source Input
is audible no matter what source (AFL/PFL, 2-Track, or Main
Mix) is sent to the Monitor bus.
To assign the 2-Track inputs to Input Channels or FX Returns:
The Intercom signal can also be routed to any input or FX re- 1 Go to the Patchbay > Inputs tab and click the Channels tab or
turn channel. the FX Returns tab.

2 At the top of the channel grid, click the FOH tab.

Routing Intercom Input
3 Click in the channel grid to assign any of the following
To route Intercom input to any input channel or FX return: 2-Track input sources (listed at the top right of the grid) to an
1 Go to the Patchbay and click the Inputs tab.
Input Channel or FX Return (listed on the left):
• AL (Analog Left)
2 To the left of the channel grid, click the Channels tab or the
• AR (Analog Right)
FX Returns tab.
• DL (Digital Left)
3 At the top of the channel grid, click the FOH tab.
• DR (Digital Right)

126 VENUE Profile Guide

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
To feed 2-Track input to the Monitor and Mains busses:
outputs.
1 Go to the Options > Misc screen.

2 In the 2-Track section, click the Input Fed to Monitors and To route any output bus to the 2-Track outputs:
Masters pop-up and select Analog 2-Track or Digital 2-Track. 1 Go to the Patchbay and click the Outputs tab.

2 To the left of the channel grid, click the tab for an Output
To activate 2-Track input and set level:
bus (Auxes, Groups, PQs, Matrixes, or Mains).
1 Click the on-screen In button in the 2-Track section of the Op-
tions > Misc page. 3 At the top of the channel grid, click the FOH tab.

2 Drag the on-screen Level knob in the 2-Track section of the 4 Click in the channel grid to assign an Output bus (listed on
Options > Misc page. 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)

2-Track controls in the Options > Misc page To route a Direct Output to the 2-Track outputs:
1 Go to the Patchbay and click the Directs tab.
Routing 2-Track to an Output Bus
2 To the left of the channel grid, click the tab for a channel
To route the 2-Track inputs directly to an output bus: source (Channels, FX Returns, or Outputs).

1 Go to the Options > Misc tab. 3 At the top of the channel grid, click the FOH tab.

2 Click the Route button in the 2-Track section on-screen. The 4 Click in the channel grid to assign a channel source (listed
switch flashes to indicate Route to Selected mode. on the left) to any of the following 2-Track output sources
(listed at the top right of the grid):
3 Press the Select switch on each of the output channels
(Auxes, Groups, Matrixes, or Mains) where you want to route • AL (Analog Left)
2-Track signal. The Select switches flash to indicate 2-Track as- • AR (Analog Right)
signment. • DL (Digital Left)

4 Click Done in the Route to Selected dialog to confirm the as- • DR (Digital Right)
signment.

Signals are routed to output busses post-mute and post-

fader.

Chapter 14: Solo and Monitor Busses 127

 To assign the Oscillator signal to an output bus:
Routing the Oscillator 1 In the Options > Misc page, click the Route button in the Os-
The output of the internal oscillator can be routed to Input cillator section.
Channels, FX Returns, or any of the output busses. The Oscil-
2 Do either of the following:
lator provides selectable signal type, frequency (for Variable
• If you had already selected the desired output, click to
Sine) and signal level, as well as a master on/off switch.
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: • Go to the Outputs page and click to select an output (it
flashes briefly).
1 Go to the Options > Misc page.
3 In the confirmation dialog that appears, click Route to con-
2 As a precaution, click and drag the on-screen Level encoder
firm your assignment or click Cancel to cancel without chang-
down to set Oscillator level to off before you proceed.
ing the current routing.

Signals are routed to output busses post-mute and post

fader.

Talkback, 2-Track and Oscillator States When

Loading Shows
Oscillator controls in the Options > Misc page
When you load a Show file, Talkback, 2-Track and Oscillator
3 In the Oscillator section, click the Signal pop-up and select controls are set to off (deactivated), regardless of their state
from the following signal types: when the Show was last saved.
• 100 Hz Sine
• 1 kHz Sine
• 10 kHz Sine
• Variable Sine
• Pink Noise
• White Noise

4 If you select Variable Sine, you can set the sine wave fre-
quency with the on-screen frequency control (directly to the
right of the Signal pop-up).

5 Click the on-screen In button in the Oscillator section.

6 Set oscillator level by slowly raising the on-screen Level en-

coder.

128 VENUE Profile Guide

Chapter 15: Muting and Mute Groups

Muting Mute Groups

Channels can be muted in three ways: explicitly (lit solid), Channels can be assigned to any of the 8 available Mute
with the channel mute switch; implicitly (flashing), as a result Groups. Mute Groups let you mute and unmute multiple
of another channel being soloed, and as a member of a Mute channels simultaneously by pressing a single switch.
Group or VCA (flashing).
Any type of channel, including all Input Channels and all
Mute switches always behave in additive (latched) fashion. Output channels, except VCAs, can be assigned to Mute
Channels can be muted in any sequence, and they will remain Groups.
muted until they are unmuted.
Mute Groups only affect the status of channel Mute switches,
The following provide some additional information about and do not affect the on/off status of Aux Sends, output of the
channels, busses, and muting: Talkback/Oscillator section, or the routing of signals to the
monitor outputs.
Input Channels and FX Returns Channel mute is pre-fader on
input channels and FX returns.
Show Members Cancel
Output Busses Mute operation is post-fader on all types of
Output busses. Assign Function

Mains The mute status of the Main busses is controlled from

the Mute switch above the Mains Fader. Mute Groups/F 1–8

Only the linked Mains busses are muted. The Mains Mute
switch flashes to indicate not all Mains are muted. For infor-
mation on linking Mains, see “Linking Mains” on page 84. Mute Groups section

VCAs When you mute a VCA, its member channels are muted. Assigning Mute Groups
The member channel Mute switches flash to indicate they are
muted as part of a VCA. 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
Flashing Mute Indication Group.
A flashing Mute switch indicates the channel is implicitly
muted as a result of a Solo or Mute Group activation. To assign or remove channels from a Mute Group:
1 Make sure the Mute Groups/Function section is in Mute
Solo In Solo In Place mode, when a channel or VCA is soloed,
Groups mode. If the Function switch is lit, press it so that it
all other channels that are not soloed or solo safe are implic-
turns off (indicating Mute Groups mode).
itly muted.
2 Press the Assign switch in the Mute Groups section. The As-
Mute Group Members of a mute group are implicitly muted
sign switch flashes to indicate Assign mode.
and flash when the mute group is active.
3 Press the Mute Group switch (1–8) for the group where you
want to assign or remove a channel. This switch flashes to in-
dicate the group is targeted for assignment.

4 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 15: Muting and Mute Groups 129

 5 Do one of the following: Viewing Members of Mute Groups
• To confirm the Mute Group definition, press the flashing
You can view Mute Group members in input channels and FX
Assign switch or the flashing Mute Group switch (1–8).
returns.
– or –
• To cancel the Mute Group definition, press the Cancel To view the members of Mute Groups in the Inputs section:
switch in the Function section.
 Press the Show Members switch in the Mute Groups section.

To assign or remove members of a Mute Group on-screen: The Bus Assign LEDs 1–8 at the top of each input channel
1 Go to the Inputs or Outputs page. flash in each channel to indicate membership in the corre-
sponding Mute Group.
2 Click the Assign button in the Mute Groups section (to the
right of the on-screen faders). The Assign button flashes to in- Press Cancel to leave Show Members mode and return the In-
dicate Assign mode. put section to its previous display.

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:

1 Make sure the Mute Groups / Function section is in Mute
Mute Group Assign mode
Groups mode. If the Function switch is lit, press it so that it
3 Below the flashing Assign button, one of the Mute Group turns off (indicating Mute Groups mode).
buttons 1–8 flashes to show which Mute Group is selected for
2 Press a Mute Groups switch 1–8 to mute the members of the
assignment. If desired, click to select a different Mute Group.
corresponding group. The Mute switches of the Mute Group
4 Click to select the channels you want assigned to the se- members flash to indicate they are implicitly muted.
lected Mute Group (click their fader strips to select individual
channels; click their on-screen bank numbers to select multi- To activate multiple Mute Groups:
ple channels at once).
 Press any number of Mute Group switches 1–8 in any se-

5 Do one of the following: quence. Mute Groups function in an additive fashion.

• To confirm the Mute Group definition, click the flashing
Assign button or the flashing Mute Group switch (1–8). To deactivate a Mute Group:

• Click the on-screen banner display to show the confirma-  Press a lit Mute Group switch.
tion dialog, then click Assign.
– or – Explicit and Implicit Channel Mute with
• To cancel the Mute Group definition, click the on-screen Mute Groups and VCAs
banner display and click Cancel.
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

Channels can be muted in three ways:

Explicitly Using the channel Mute switch.

Implicitly As a member of a Mute Group or VCA.

– and –

Implicitly As a result of another channel being soloed.

130 VENUE Profile Guide

Using Channel Mute Switches To re-enable Mute Groups:

Any input or output channel implicitly muted by a Mute  Click the flashing Disable button in the Mute Groups
Group or VCA can be explicitly un-muted, explicitly muted, section.
and reset to its implicit mute state by repeatedly pressing a
channel Mute switch. Explicitly unmuting or muting a chan-
nel in this way does not permanently remove that channel
from the Mute Group or VCA.
Disable
This feature is useful to temporarily unmute a channel during
a line check without having to release the entire Mute Group
or VCA.

To cycle through the available Mute modes:

1 Activate a Mute Group, or mute a VCA. The Mute switches Mute Group controls on-screen
on all implicitly muted channels flash.

2 Press a flashing Mute switch to explicitly unmute the chan-

nel. Its Mute switch is now unlit. Function Switches
3 Press the same (now unlit) Mute switch again to explicitly VENUE Profile provides 8 Function switches (F keys).
mute the channel. Its Mute switch is now lit solid.

4 Press the same Mute switch again to implicitly mute the

Show Members Cancel
channel and return it to being controlled by the active Mute
Group or VCA. Its Mute switch resumes flashing. Assign Function

Select multiple channels first to be able to toggle all their

states at once. The Mute behavior may vary if some, but not Mute Groups/F 1–8
all, of the selected channels are members of a Mute Group
or VCA.

Disabling Mute Groups Mute Groups/Function switches (F keys) section

You can temporarily disable all Mute Group functions. When The function and behavior of each Function switch can be
Mute Groups are disabled, all channels implicitly muted as a customized in the Event List. By default, Function switches
result of Mute Group activation are unmuted. 1–4 are mapped to Preview mode, Variable Groups mode,
channel copy and channel paste, respectively.
Channels can still be explicitly muted when Mute Groups are
disabled. Mute Group assignments are preserved and made For more information, see Chapter 22, “Events.”
available again when Mute Groups are re-enabled.
To access the Function switches:
To disable Mute Groups: 1 Press the Function switch in the Mute Groups section.
1 Go to the Inputs or Outputs pages. When in Function mode, the Function switch LED lights.

2 Click the Disable button on-screen in the Mute Groups sec- 2 To return to Mute Groups mode, press the Function switch
tion. The Disable switch flashes to indicated disabled state. again.

Chapter 15: Muting and Mute Groups 131

Part IV: Processing
Chapter 16: Dynamics

VENUE Mix Rack and Profile systems offer the following dy-
namics features: Built-In Compressor/Limiter
• A built-in Compressor/Limiter and Expander/Gate is One built-in Compressor/Limiter (Comp/Lim) is available on
available on each input channel. each input channel. The Comp/Lim defaults to compression,
• Dynamics plug-ins can be used on input and output or can be switched to a limiter by setting the Ratio to its max-
channels. imum setting. Mono and stereo processing are supported.
• All channels let you inset hardware dynamics processors.
• All built-in and most plug-in dynamic processors support Comp/Lim Parameters
side-chain keying with key filtering.
Threshold Increases or decreases the threshold level for the
• Dynamics settings can be copied, pasted, stored and re-
built-in Comp/Lim.
called using Snapshots and Presets.
Ratio Increases or decreases the ratio for the Comp/Lim. The
Built-In Dynamics most extreme clockwise setting (100:1) switches the process
into Limiting mode.
Each input channel provides a built-in Compressor/Limiter
(Comp/Lim), and an Expander/Gate (Exp/Gate). Built-in dy- Attack Increases or decreases attack time for the Comp/Lim.
namics are not limited by DSP resources, and can be config-
Comp Knee Increases or decreases the knee width for the
ured as pre- or post the built-in EQ per channel. Built-in
Comp/Lim. A knee value of 0 provides a hard knee setting;
Comp/Lim and Exp/Gate Threshold can be adjusted from the
100 provides a soft knee.
input encoders; all other dynamics parameters can be adjusted
using the dedicated Dynamics controls in the ACS, or Release Increases or decreases release time for the Comp/Lim.
on-screen.
Make-Up Gain Increases or decreases the make-up gain applied
by the Comp/Lim.
Plug-Ins
In/Out Takes the Comp/Lim in or out of circuit (bypass).
Dynamics plug-ins can be used on input and output channels.
When assigned in the plug-in racks, Dynamics plug-ins can be Side-Chain Keying Provides side-chain and key listen.
inserted on individual mono or stereo channels or fed by bus- Side-Chain features are available on-screen only. For details,
ses. Dynamics plug-ins can be adjusted using the dedicated see “Side-Chain Keys and Filters” on page 139.
Dynamics controls in the ACS, from the Output encoders (in
Insert Mode), or from the on-screen Plug-Ins page. In addi-
Comp/Lim Gain Reduction Meters
tion, plug-in presets can be stored and loaded.
Three-segment gain reduction meters on each input channel
The Dynamics controls in the ACS provide a unified set indicates Comp/Lim gain reduction from left to right, as
of controls for both built-in and plug-in dynamics pro- shown in the following table:
cessing.
Channel Compr/Lim gain reduction meter scale

Hardware Inserts LED Gain Reduction Color

You can insert a hardware Dynamics processor and control its none 0 dB Off
in/out state and insert position on-screen. (See Chapter 19, 1 (right) <= 3 dB Green
“Hardware Inserts.”)
2 <= 6 dB Green

3 (left) <= 12 dB Green

Six-segment gain reduction meters are provided in the ACS for

higher resolution metering. (See Chapter 13, “Metering.”

Chapter 16: Dynamics 135

 Comp/Lim Defaults and Ranges Exp/Gate Gain Reduction Meters
The following table lists the default values and ranges for the A single bi-color Gate LED on each input channel indicates
built-in Comp/Lim: Exp/Gate activity, as shown in the following table.
Comp/Lim (defaults to Compressor mode)
Color Expander Status Gate Status
Parameter Default Minimum Maximum
(none) Not in circuit Not in circuit
Threshold 0 dB –40 dB +20 dB
Green 3 dB gain reduction Gate Open & Hold
Attack 10 ms 100 us 200 ms
Yellow 21 dB gain reduction Gate Release
Release 100 ms 10 ms 4 sec
Red > 21 dB gain reduction Gate Closed
Ratio 2:1 1.25:1 100:1
Six-segment gain reduction meters are provided in the ACS for
Knee 0 (hard) 0 100
metering of the Exp/Gate on the currently selected channel.
Makeup Gain 0 dB –40 dB +20 dB (See Chapter 13, “Metering.”

Exp/Gate Defaults and Ranges

Built-In Expander/Gate The following table lists the default values for the Exp/Gate:
One built-in Expander/Gate (Exp/Gate) is available on each Exp/Gate Defaults (defaults to Gate mode)
input channel. The Exp/Gate defaults to gate (Ratio of 100:1,
Parameter Default Minimum Maximum
the maximum setting). It can be switched to Expander mode
by setting the Range to its minimum setting. Mono and stereo Threshold 0 dB –60 dB +20 dB
processing are supported.
Attack 1 ms 20 us 500 ms

Release 250 ms 10 ms 4 sec

Expander/Gate Parameters
Ratio 100:1 (Gate 1.25:1 100:1
Threshold Increases or decreases the threshold level for the
mode)
built-in Exp/Gate.
Gate Hold 100 ms 10 ms 4 sec
Ratio Increases or decreases the ratio for the Exp/Gate. The
most extreme clockwise setting (100:1) puts the process into Gate Range –20 dB –80 dB 0 dB
Gate mode. Lower settings enable Expander mode.

Attack Increases or decreases the attack time for the Exp/Gate.

Adjusting Dynamics
Gate Hold Increases or decreases the time the gate holds.
The VENUE Profile console provides Dynamics controls in in-
Release Increases or decreases the release time for the put channel strips, the ACS, and on-screen.
Exp/Gate.

Range Sets the maximum range or depth of attenuation of the Input Fader Strip Dynamics Controls
gate on that channel. All Input fader strips provide Threshold level control for
built-in Dynamics.
In/Out Takes the Exp/Gate in or out of circuit (bypass).

Side-Chain Keying The Exp/Gate supports side-chain and key

listen. For details, see “Side-Chain Keys and Filters” on
page 139. Compressor and Gate
Threshold
Assign for
Encoders

Input Encoder assignment switches for built-in Dynamics

136 VENUE Profile Guide

To adjust Threshold from an input strip: Software Screen Dynamics Controls
1 Press an Encoder Assign switch (Comp/Lim, or Exp/Gate).
The software screen lets you adjust built-in or plug-in dynam-
2 Rotate a channel encoder to adjust Threshold. ics on-screen, with simultaneous access to Comp/Lim and
Exp/Gate parameters (including their side-chain settings).

ACS Dynamics Section The Inputs screen also provides the Dynamics Graph display.
The Dynamics Graph displays a composite response of the
The Dynamics controls in the ACS provide a unified, consis-
compressor and gate that you can use to view and edit built-in
tent set of controls for both built-in and plug-in dynamics
Dynamics parameters.
processing for the targeted channel. Its six dual-purpose ro-
tary/switch encoders, three In/Out switches, three Select
switches, and dedicated high-resolution gain reduction me-
ters provide a familiar way to adjust and view any type of Dy-
namics parameters and their settings.
Dynamics
Graph
All -compatible Dynamics plug-ins map their controls to the
appropriate ACS encoders and switches.
Side-chain

Threshold Attack Release

Ratio Comp Knee/ Comp Gain/
Gate Hold Gate Range
Comp/Lim

Exp/Gate

In/Out Select Dynamics In/Out

Dynamics controls in the software screen
Gain Reduction
meters
To adjust Dynamics parameters on-screen:
Dynamics section and controls
1 Select a channel on-screen.
LED indication of Dynamics Processing
2 Adjust the on-screen controls as needed:
The LEDs beneath each Dynamics encoder light green when
• For the built-in comp/lim or exp/gate, adjust the param-
the Dynamics section is controlling Comp/Lim or plug-in dy-
eter on-screen.
namics parameters, and light red to indicate Exp/Gate mode.
• For plug-ins, click the Insert slot displaying the Dynamics
plug-in to go to the Plug-Ins page.
To adjust Dynamics parameters from the ACS:
1 Target a channel by pressing its Select switch. To reset an on-screen Dynamics parameter to its default value,
do one of the following:
2 Press the Dynamics Select switch for the corresponding pro-
cess:  Alt-click the control.
• For the built-in Compressor/Limiter, press the Comp/Lim – or –
Select switch.
 Right-click the control and choose Reset.
• For the built-in Expander/Gate, press the Exp/Gate Select
switch.
To reset an entire Dynamics section to its default settings:
• For a Dynamics plug-in, press the Plug-In Select switch.
 Hold the Default switch and press the Comp/Lim or
3 Adjust the appropriate Dynamics parameter. Exp/Gate Select switches in the ACS Dynamics section.
– or –
To take the process in/out of circuit:
 On-screen, right-click anywhere on the Compressor/Limiter
 Press the appropriate In/Out switch in the ACS Dynamics
or Expander/Gate sections (but not directly on an encoder or
section (Comp/Lim, Exp/Gate, or Plug-In).
button) and choose Reset.
– or –
• Press the Dyn In switch in the ACS Dynamics section to tog-
gle the currently targeted dynamics processor in or out.

Chapter 16: Dynamics 137

 Using the Dynamics Graph Display
Channel Modes Affecting Dynamics
In addition to the on-screen encoders and buttons, you can
adjust Dynamics parameters using the Dynamics Graph. Both the Channel Config settings for Input Direct mode and
Dyn Pre EQ affect operation of built-in Dynamics.
To adjust Dynamics on-screen using the Graph display:
Dyn Pre EQ
1 Select a channel on-screen, and make sure the Comp/Lim-
iter or the Exp/Gate is in circuit, and targeted in the Dynamics By default, built-in Dynamics processing occurs before
Graph. built-in EQ processing in the signal chain of input channels.
This can be changed on a per-channel basis by toggling the
channel’s Dyn Pre EQ setting.

Drag to adjust
To toggle the Dyn Pre EQ setting:
1 Target the input channel by pressing its Select switch, and
make sure the Inputs page is displayed.

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.

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 Comp/Limiter or Channel Config controls in the Inputs page
Exp/Gate sections to change the display.
Input Direct Mode
2 Drag handles in the on-screen Dynamics Graph to adjust
Input Direct mode lets you completely bypass any and all
Threshold and Ratio.
built-in dynamics and EQ, plug-ins and inserts processing on
input channels and FX returns.
The Dynamics Graph does not support Fine adjust mode us-
ing the Fine switch.
To toggle Input Direct model:

Adjusting Dynamics Plug-Ins 1 Target the input channel by pressing its Select switch, and
make sure the Inputs page is displayed.
Dynamics plug-ins map their threshold, ratio, attack, release,
gain, and filter controls to the corresponding in the ACS. (Dy- 2 Click the Input Direct button in the (channel) Config section
namics controls on input strips can only control built-in dy- in the upper right corner of the screen. When enabled, the In-
namics processors.) put Direct LED lights.

If more than one Dynamics plug-in is inserted on a chan-

nel, only the first Exp/Gate will map to the ACS. You can
use the Output encoders in Insert mode to control any addi-
tional Dynamics plug-ins on the channel.

To adjust a Dynamics plug-in from the console:

1 Target the channel with the plug-in by pressing the channel
Select switch.

2 Press the plug-in Select switch (located next to the ACS gain
reduction meters in the Dynamics section), then do one of the
following:
• If the plug-in maps correctly, adjust parameters by press-
ing or turning the corresponding encoders in the ACS
Dynamics section.
• If the plug-in does not map to the ACS, press the Insert
Mode switch in the Output section. Use the Output en-
coders to adjust parameters; use the Previous Page and
Next page switches to access other parameters.

138 VENUE Profile Guide

 2 Click the Comp/Lim or Exp/Gate Presets icon on-screen.
Dynamics Settings and Presets
Presets Comp/Lim
Built-in Dynamics settings can be copied and pasted between
channels. Settings can also be stored, loaded, and transferred
as dynamics Presets.

Presets Exp/Gate
Copying and Pasting Dynamics Settings

To copy and paste dynamics settings:

Built-in dynamics Presets buttons
1 Right-click anywhere in the Comp/Lim or Exp/Gate areas of
the on-screen Dynamics section and choose Copy Comp/Lim 3 If necessary, select the appropriate Presets folder by clicking
Settings, or Copy Exp/Gate Settings. and selecting it from the Folder selector.

Presets Folder selector

Copying dynamics settings

2 Go to the channel where you want to paste the settings.

3 Right-click in the Comp/Lim or Exp/Gate areas of the de- Previewing a preset in the Presets window
sired channel’s on-screen Dynamics section and choose Paste
Comp/Lim Settings or Paste Exp/Gate Settings. 4 Do one of the following:
• To preview an existing preset, click its name in the Presets
To copy and paste all of a channel’s built-in Dynamics settings: window.
• To load the currently selected preset, press Enter or click
1 Right-click in the on-screen Dynamics Graph and choose
the Close box (X) in the Presets window title bar.
Copy Dynamics Settings.
• To save the current dynamics settings as a new preset,
2 Select the channel where you want to paste the settings. click New and enter a name for the preset file.
3 Right-click in the on-screen Dynamics Graph of the new • To cancel without changing settings, click Cancel.
channel and choose Paste Dynamics Settings.

Presets for Built-In Dynamics Side-Chain Keys and Filters

You can store and load settings as presets for built-in and The built-in Comp/Limiter and Exp/Gate support side-chain
plug-in dynamics processors from the console or on-screen. triggering.

To save or load a preset:

Key In/Out
1 Adjust dynamics settings on a channel (if saving a preset), or
The Key In switch toggles the key signal in or out of circuit for
select an input channel (to load a preset).
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 Comp/Limiter key is in, it uses its own source chan-
nel (Self) as the key source signal. When the Exp/Gate key is
in, it can be self-keyed or use any other available channel.

Chapter 16: Dynamics 139

 Key Assign To engage Key Listen:

The on-screen Key Assign selectors lets you select the  Click the Listen button in the on-screen Exp/Gate controls.
side-chain source for a gate (compressors are always keyed by
the channel signal) and its pickoff. The Key Source selector is To disengage Key Listen:
provided in the Exp/Gate controls.  Click Listen again. The Solo bus reverts to its previous signal.
You can press Solo Clear to turn off any engaged Key Listen.
Key Sources Press Solo Clear a second time to clear channel solos, if any.

The Compressor/Limiter is self-keyed. You can use any of the

following as the key source for the Exp/Gate: Side-Chain Filters
• Self
Both the Comp/Limiter and Exp/Gate side-chains provide two
• Any Input (Channel or FX Return) bands of EQ to band-limit the key signal.
• Any hardware input
To enable a side-chain filter on-screen:
You can also specify the pickoff source for the key signal for
input channels. 1 Click the C/L Side-Chain or E/G Side-Chain tab in the Dynam-
ics section to select the desired processor.
To select the key signal for the Gate on-screen: 2 Click the LPF or HPF side-chain filter In buttons.
1 Select an Input Channel.
LPF frequency
2 Click the E/G Side-Chain tab in the Dynamics section to se-
LPF in/out
lect the gate. HPF frequency
HPF in/out
3 Click the Key Source selector and choose an available chan-
Key Listen
nel or bus. Key In

Side-Chain controls in the software screen (Exp/Gate shown)

To adjust a side-chain EQ:

 Turn the HPF or LPF encoder to adjust the frequency.
On-screen, the LEDs around the encoder light, and the current
frequency value is displayed on-screen.
Choosing a Key Source Dynamics side-chain EQ defaults and ranges

To select a pickoff point for the key source signal: Filter Default Minimum Maximum

 Click the Source Pickoff selector and choose a pickoff source HPF 10 Hz, Off 10 Hz 20 kHz
for the selected key signal:
LPF 20 kHz, Off 10 Hz 20 kHz

Key Listen
Side-Chain Limitations
The Key Listen button toggles the key onto the Solo (Cue) bus,
Up to 32 side-chain Key signals can be routed from the follow-
replacing any currently soloed channel.
ing sources:
Key Listen always overrides the Solo bus (previously soloed • Channel pre/post fader pickoff
channels are suppressed until Key Listen is cleared). Pressing • FX Return pre/post-fader pickoff
Solo on other channels while Key Listen adds them but they • Channel Insert return
remain suppressed.
There are no limits to the number of side-chain Key signals
Key Listen is also exclusive to itself; pressing Key Listen on a that can be routed from hardware inputs, Input Channel or FX
different processor or channel replaces the previous Key Listen Return top-of-channel pickoffs, or channel insert returns.
with the new Key Listen.
Side-chain level may vary dramatically depending on where
Key Listen on a Dynamics plug-in does not route the signal the Key signal is sourced. The top of channel pickoff can be
to the Solo bus, but to the plug-in output. Use caution. as much as 18 dB louder than other pickoff points and
sources.

140 VENUE Profile Guide

Chapter 17: EQ

The following EQ features are available:

• A built-in EQ is available on each input channel and FX Built-In EQ Parameters
return.
• Graphic EQs are available for use on output channels. HPF
• EQ plug-ins can be used on input and output channels. Each input channel provides a fourth-order high-pass filter
• All channels let you insert hardware EQ processors. (HPF) with adjustable corner frequency and in/out control.
• Dynamics settings can be copied, pasted, stored and re- The input HPF defaults to 20 Hz, out-of-circuit.
called using Snapshots and Presets.
You can adjust HPF frequency and in/out state from each in-
put strip, from the ACS, or on-screen.
Built-In EQ
Different types of built-in EQ are available for input channels,
Input Parametric EQ
FX returns, and outputs.
Input channels and FX returns provide built-in parametric EQ.
Input Channels Each input channel provides a high-pass filter The following parameters are available in the built-in EQ, and
plus a built-in four-band parametric EQ. EQ can be set for dig- can be adjusted using the EQ controls in the ACS or on-screen.
ital or analog mode. In digital mode only, the four-band EQ
provides selectable Bell/Shelf shapes for the Hi and Lo bands.
EQ In
Input channel EQ can be configured as pre- or post-Dynamics
on a per-channel basis. 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
FX Returns Each FX return provides a built-in two-band EQ. from the ACS or on-screen.
FX return EQ can be used in digital or analog mode; in digital
mode, the bands can be individually configured for Bell or EQ Status LED
Shelf modes.
The (red) channel EQ In LED indicates EQ in/out status as
Graphic EQs shown in the following table.

Output busses can have a built-in Graphic EQ assigned to Color EQ Status

them.
(none) Not in circuit

EQ Plug-Ins Red In circuit

EQ plug-ins can be used on input and output channels. When

Analog and Digital EQ Modes
assigned in the plug-in racks, EQ plug-ins can be inserted on
individual mono or stereo channels or fed by busses. EQ The Analog/Digital button toggles the built-in parametric EQ
plug-ins can be adjusted using the ACS, using the Output en- between digital mode and analog mode, on a per-channel ba-
coders (in Insert mode), or from the on-screen Plug-Ins page. sis. Analog/digital mode switching is available on-screen.
Plug-in presets can be saved and loaded.
Digital Mode A standard digital parametric EQ. Frequency
The EQ controls in the ACS provide a unified set of con- range of 20 Hz to 20 kHz and gain range of +/–18 dB are avail-
trols for both built-in and plug-in EQ processing. able 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
Hardware Inserts (left, a narrow band) to 0.1 (right, a wide band). Digital Mode
is the default EQ mode.
You can insert a hardware EQ processor and control its in/out
state and insert position on-screen. See Chapter 19, “Hard-
ware Inserts.”)

Chapter 17: EQ 143

 Analog Mode An EQ with a response modeled on that of an an-
alog console renowned for its EQ section. Frequency range is Adjusting EQ
limited to match, and the outer bands provide shelving only.
You can adjust EQ controls in input channel strips, in the
Analog Q is expressed in octaves of bandwidth in the range 0.1
ACS, and on-screen.
(left, a tenth of an octave) to 2 (right, two octaves.)

The HPF does not change when the EQ is switched between Adjusting HPF Controls
Digital and Analog mode.
Each input strip provides HPF frequency control. HPF can be
Gain, Frequency, and Q/Bandwidth adjusted using the Encoder HPF switch and row of encoders.

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. LEDs around the HPF for
Encoders
Gain encoder light from the center-point to the right (boost),
or from the center-point to the left (cut) to show current Gain.

Freq Sets the center or corner frequency, as follows:

Encoders
• 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 144.) HPF controls for input channels

Turning the encoder clockwise increases the frequency for To adjust HPF:
that band; turning it counter-clockwise decreases the fre-
1 Bank the Input section to the desired channels.
quency. A single LED around the encoder shows the current
encoder setting. The available range of each band depends on 2 Press the HPF Encoder Assign switch.
the EQ mode (Digital or Analog). See “Control Ranges for
3 Rotate the appropriate channel Encoder to adjust its HPF
Built-In Parametric EQ (All Modes)” on page 149.
frequency. Press the appropriate encoder shaft switch to toggle
Q (Q/Bandwidth) Controls Q (in digital mode) or bandwidth HPF in or out.
(analog mode).
 In Digital mode, Q determines Q factor. When the Hi or Lo Adjusting Channel Parametric EQ Controls
filters are in Shelf mode, the Q knob determines the Q of the
The EQ controls in the ACS provide a unified, consistent set of
shelf.
controls for both built-in and plug-in EQ processing for the
 In Analog mode, this control changes to a bandwidth con- targeted channel. Twelve dual-purpose rotary/switch encoders
trol which performs essentially the same function. control EQ parameters and their settings.

Band In/Out Each of the available EQ bands can be taken in or EQ plug-ins can map their controls to the ACS EQ section, and
out (bypassed) using their encoder (or on-screen). all plug-ins can be controlled using the Output encoders in In-
 In the ACS EQ section, the Gain knob for each band serves sert mode.
as the in/out control by pushing the encoder. The indicator
LED lights to indicate band In. Plug-In Low Low-Mid High-Mid High

 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 paramet-

ric 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 in- In/Out
structions on configuring these bands for Bell or Shelf mode, EQ controls in the ACS
see “Adjusting EQ” on page 144.

144 VENUE Profile Guide

To adjust EQ parameters from the ACS: Software Screen EQ Controls
1 Target a channel by pressing its Select switch.
You can adjust the built-in EQ using dedicated on-screen but-
2 Press the EQ In switch to enable built-in EQ on that chan- tons for band in/out and bell/shelf toggling.
nel. The EQ In LED lights to indicate the EQ is engaged.)
The software screen also provides the EQ Graph display to ad-
3 Adjust the appropriate EQ encoder for High, Hi-Mid, just frequency and gain simultaneously.
Lo-Mid, or Low bands.

In/Out Digital/Analog
Gain (rotate) and Band In/Out (press)
Gain
Band in/out
Q (digital mode) Q/Bandwidth
Hi
Bell/Shelf
Frequency
Frequency (rotate) and Bell/Shelf (press)

Gain
Band in/out
Q Hi Mid
High EQ controls in the ACS
Frequency

Gain
Gain (rotate) and Band In/Out (press) Band in/out Lo Mid
Q
Frequency
Q (digital mode) or bandwidth (analog mode)
Gain
Frequency (rotate) and Bell/Shelf (press) Q/Bandwidth Band in/out
Lo
Bell/Shelf
Frequency
Presets
Hi-Mid EQ controls in the ACS
EQ controls in the software screen (4-band Input Channel EQ shown)

To adjust parametric EQ parameters on-screen:

Gain (rotate) and Band In/Out (press)
1 Select a channel on-screen.

Q (digital mode) or bandwidth (analog mode) 2 Click the EQ In switch to put the EQ in circuit.

Frequency (rotate) and Bell/Shelf (press) 3 Adjust the on-screen controls by doing one of the following:
• Turn an on-screen knob (Gain, Q/Bandwidth, or Frequency)
for each frequency band.
Lo-Mid EQ controls in the ACS • Click to toggle any on-screen EQ switch (EQ in/out, band
in/out, or bell/shelf).
• Click a displayed value and type a new value.
Gain (rotate) and Band In/Out (press)
• Drag up or down in a value display to increase or decrease
the value.
Q (digital mode)

Frequency (rotate) and Bell/Shelf (press)

To reset an on-screen EQ parameter to its default value, do one
of the following:
• Alt-click the control (or, hold the console Default(Alt)
Low EQ controls in the ACS switch and click the control).
• Right-click the control and choose Reset.
To toggle all bands in or out:
 Press the EQ In switch. To reset the entire EQ section (all bands) on a channel, do one of
the following:
To reset an EQ parameter to its default value: • Right-click anywhere in the EQ section on-screen (but
 Hold the Default switch and adjust the control. not directly on an encoder or button) and choose Reset
EQ Section.
To reset the entire EQ section (all bands) on a channel: • Hold Default and click the on-screen EQ In button.

 Hold the Default switch and press the EQ In switch.

Chapter 17: EQ 145

 Using the EQ Graph Display
Channel Modes Affecting EQ
The on-screen EQ graph lets you use the mouse to adjust fre-
quency and gain for any available EQ band. 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.
EQ This can be changed on a per-channel basis by toggling the
graph channel’s Dyn Pre EQ setting.

To toggle the Dyn Pre EQ setting of an input channel:

1 Target the channel whose Dyn Pre EQ mode you want to
Dragging handles in the EQ graph display change by pressing its Select switch.

To adjust EQ on-screen using the Graph display: 2 In the on-screen channel Config section, click the Dyn Pre EQ
switch. When enabled, the Dyn Pre EQ switch LED lights.
1 Select a channel on-screen.

2 Click the EQ In switch to put the EQ in circuit.

Dyn Pre EQ
3 Drag the handles in the on-screen EQ graph display for each
EQ band (Lo, Lo-Mid, Hi-Mid, or Hi), as follows: Dyn Pre EQ button

• Drag a handle right or left to increase or decrease fre- Input Direct Mode
quency.
• Drag a handle up or down to increase or decrease gain. Input Direct mode lets you bypass the built-in dynamics and
EQ processing, and all inserts on Input Channels and FX Re-
turns.
Adjusting EQ Plug-Ins
EQ plug-ins can map their gain, frequency, and Q/bandwidth To toggle Input Direct model:
controls to corresponding encoders in the ACS. 1 Target the input channel by pressing its Select switch, and
make sure the Inputs page is displayed.
When a plug-in provides additional parameters beyond those
that map to the dedicated EQ encoders, you can use the Out- 2 Click the Input Direct button in the channel Config section in
put encoders. the upper right corner of the screen. When enabled, the Input
Direct LED lights.
All plug-ins, including EQ plug-ins that do not map directly
to dedicated EQ encoders, can be controlled using the Out-
put encoders in Insert mode.
Graphic EQ for Outputs
To adjust an EQ plug-in from the console:
A built-in 31-band Graphic EQ can be inserted on Mains,
1 Target the channel with the plug-in by pressing the channel Groups, Auxes, Matrixes, and PQs. The Graphic EQ provides
Select switch. +/– 12 dB of gain and constant Q.
2 Press the plug-in Select switch in the ACS. Assigning a Graphic EQ to a mono channel uses one available
3 Do one of the following: Graphic EQ. Assigning a Graphic EQ to a stereo channel uses
two available Graphic EQs.
• If the EQ plug-in maps correctly, adjust parameters by
pressing or turning the corresponding encoders in the Graphic EQs can be adjusted on-screen, or using the input fad-
ACS EQ section. ers, which provide access to two banks of 16 frequency bands
• If the EQ plug-in does not map to the ACS controls, press each.
the Insert Mode switch in the Output section. Use the
Output encoders to adjust parameters; use the Previous
Page and Next page switches to access other pages, bands,
and parameters.

For more information, see Chapter 18, “Plug-Ins.”

146 VENUE Profile Guide

Configuring Graphic EQs Graphic EQ Controls
Input faders 1-16 provide control of Graphic EQ frequency
To configure the number of Graphic EQs:
bands. You can also adjust graphic EQs on-screen.
1 Put the system into Config mode.

2 Go to the Options page and click the System tab.

3 Click the Edit button on-screen.

4 Choose the number of Graphic EQs from the pop-up menu.

You can choose to dedicate processing resources to provide 0,
8, 16, or 24 Graphic EQs.

GEQ
20–630 Hz
800–20kHz
Input fader banking and assignment switches

To enable the graphic EQ:

Configuring the number of Graphic EQs
1 Target an Output bus with a Graphic EQ assigned. If no

Inserting Graphics EQs on Outputs graphic EQ is assigned, display the 31-Band Graphic Equalizer
tab in the Outputs page and assign one using the Graphic EQ
To insert a Graphic EQ on an Output bus: pop-up menu.

1 Target the bus by pressing its Select switch. 2 Click the In button on-screen to toggle in/out status. When
enabled, the In/Out switch LED lights.
2 In the Outputs page, click the 31-Band Graphic Equalizer tab.

3 Click the Graphic EQ pop-up menu and choose an available To set a graphic EQ curve:
mono or stereo Graphic EQ. 1 Press the Graphic EQ band switch or click on-screen to select
the appropriate bank of graphic EQ bands: (20 to 630 Hz,
31-Band Graphic Equalizer tab
800 Hz to 20 kHz). Inputs 1–16 are temporarily replaced with
frequency fader controls.

2 Adjust one of the 16 faders controlling the selected graphic

EQ bands.

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 800–20kHz switch, then adjust the last en-
coder above that bank of GEQ faders, or use the on-screen
Assigning a graphic EQ (mono) Output control.

The 31-Band Graphic EQ appears on-screen.

Resetting Graphic EQ Parameters
In-Circuit
Output To reset a band to its default setting, do one of the following:
• 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
Bands choose Reset.
• Alt-click the band on-screen.

To reset the entire graphic EQ to flat:

 Right-click anywhere in the Graphic EQ section on-screen
31-band graphic EQ (but not directly on a fader) and choose Reset GEQ Section.

Chapter 17: EQ 147

 3 Choose a Presets folder in the Folder display at the top of the
EQ Settings and Presets Presets window. If necessary, choose the appropriate Presets
folder by selecting it from the Folder pop-up menu.
Built-in parametric and Graphic EQ settings can be copied and
pasted between channels. EQ presets can also be saved and For more information, see Chapter 20, “Shows and File
loaded to archive and transfer settings. Management.”

Copying and Pasting EQ Settings

To copy and paste an EQ setting:

1 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.
– or –
• To copy a Graphic EQ setting, right-click the graphic EQ
display (not on a fader) and choose Copy GEQ Settings.

Presets window Presets icon

EQ Presets window

4 Do any of the following:

EQ Reset/Copy/Paste pop-up menu
• To preview an existing preset, click its name in the Presets
2 Go to the channel where you want to paste the settings. window.
• To load the currently selected preset, press Enter or click
3 Do one of the following:
the Close box in the Presets window title bar.
• To paste a parametric EQ setting, right-click in the new
• To load a preset and close the Presets window, dou-
channel’s EQ section or graph and choose Paste EQ Set-
ble-click the preset.
tings.
• To save the current EQ settings as a new preset, click New
– or –
and enter a name for the preset file.
• To paste a Graphic EQ setting, right-click in the new
• To cancel without changing settings, click Cancel.
channel’s Graphic EQ section and choose Paste GEQ Set-
tings.
To save or load a preset for the Graphic EQ:
1 Go to the Outputs page for the channel on which the
Presets for Built-In and Graphic EQ graphic EQ is assigned. If necessary, click the 31-Band Graphic
You can store and load EQ settings to disk as Preset files. Pre- Equalizer tab to display the graphic EQ on that channel.
sets can be used with built-in and plug-in EQ processors, in- 2 Click the Presets icon (above the EQ bands, next to the
cluding the graphic EQ. Preset files can be moved between sys- In-Circuit button).
tems and used for other Shows. Presets can be accessed from
the control surface or on-screen. 3 Choose a Presets folder in the Folder display at the top of the
Presets window. If necessary, choose a different Presets folder
Check the Factory Presets folder for preconfigured settings. by clicking and selecting it from the Folder pop-up menu.

To save or load a preset: 4 Do any of the following:

• To preview an existing preset, click its name in the Presets
1 Adjust EQ parameters as needed.
window.
2 Click the EQ Presets icon on-screen. (The Presets icon is • To load the currently selected preset, press Enter or click
available in the Inputs screen EQ section, and in the graphic the Close box in the Presets window title bar.
EQ screen for an output channel).
• To load a preset and close the Presets window, dou-
ble-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.

148 VENUE Profile Guide

Control Ranges for Built-In Parametric EQ (All Modes)
Table 18. Control ranges for built-in parametric EQ

Band Control Range (Digital) Defaults (Digital) Range (Analog) Defaults (Analog)

High Frequency 20 Hz to 20 kHz 10 kHz 2 kHz to 20 kHz 6 kHz

(Bell/Shelf)
Gain ±18 dB 0 dB ±15 dB 0 dB

Q/Bandwidth 10 to 0.1 1.0 Shelf only none

High-Mid 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

Low-Mid 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

Low Frequency 20 Hz to 20 kHz 200 Hz 30 Hz to 200 Hz 80 Hz

(Bell/Shelf)
Gain ±18 dB 0 dB ±15 dB 0 dB

Q/Bandwidth 10 to 0.5 1.0 Shelf only none

Fader Banks and Graphic EQ Frequency Bands

VENUE Profile Fader Banks and Graphic EQ Frequency Bands

Bank 1
(20 to
630 Hz)

Fader 1 2 3 4 5 6 7 8

Freq 20 Hz 25 Hz 31.5 Hz 40 Hz 50 Hz 63 Hz 80 Hz 100 Hz

Fader 9 10 11 12 13 14 15 16

Freq 125 Hz 160 Hz 200 Hz 250 Hz 315 Hz 400 Hz 500 Hz 630 Hz

Bank 2
(800 Hz
to 20 kHz)

Fader 1 2 3 4 5 6 7 8

Freq 800 Hz 1000 Hz 1.25 kHz 1.6 kHz 2 kHz 2.5 kHz 3.15 kHz 4 kHz

Fader 9 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

Chapter 17: EQ 149

Chapter 18: Plug-Ins

This chapter explains how to install and configure plug-ins be- Using Config and Show Modes for Plug-Ins
fore a performance, and how to use plug-ins during a perfor-
mance. The current Console mode status (Config or Show mode) de-
termines which plug-in functions are available.
Plug-Ins can be inserted on all channels and bus outputs, or
used as bus processors for effects such as reverb and delay. Config mode is required to install plug-ins, assign them to
rack slots, and to establish side-chain routing. When in Show
For complete information on VENUE-compatible plug-ins, mode, any operations that might interrupt audio throughput
visit the Avid website (www.avid.com). are locked out and unavailable.

Plug-In actions that interrupt audio require Config mode.

Plug-Ins Quick Start
For more information, see “Config Mode and Show Mode”
Before a performance, enable Config mode and do the follow- on page 40.
ing:
• Install plug-ins (see “Installing and Authorizing Plug-Ins”
on page 151). Installing and Authorizing Plug-Ins
• Assign plug-ins to racks and rack slots (see “Plug-In Racks” Plug-ins can be installed and authorized on systems using
on page 156). their installer discs or USB storage devices. (Plug-ins are not
• Assign plug-in input and output routing, including able to be installed or adjusted using only the Standalone soft-
side-chain routing (see “Assigning and Routing Plug-Ins” on ware.)
page 159).
Because installing plug-ins can interrupt audio throughput,
• View and adjust plug-ins using the console or software always install plug-ins before a performance.
screen (see “Adjusting Plug-Ins” on page 161).
• Save and load plug-in settings as Presets, or with snapshots Installing Plug-Ins
(see “Plug-In Presets and Snapshots” on page 164).
To install a plug-in:
During a performance, do all of the following:
1 Put the system into Config mode.
• Enable Show mode to “safe” (lock out) plug-in rack assign-
ments and other plug-in rack operations that could inter- 2 If installing from a CD-ROM, insert the installer disc into
rupt a performance. the system CD-ROM drive.

• Patch channels and busses to available plug-ins, re-assign 3 Go to the Options page and click the Plug-Ins tab. The fol-
plug-in routing, or re-assign existing side-chain routing. lowing two lists are shown:
• Adjust plug-in parameters from the ACS, Output Encoders,
Plug-Ins to Install This list shows available plug-in installers.
or on-screen.
At the top of the list is the Device selector, which provides a
• Save and load plug-in settings as Presets, or within snap- pop-up menu of available media sources. Plug-In installers are
shots. stored locally after plug-in installation, and appear as avail-
able 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 un-
available (see “Enabling and Disabling Installed Plug-Ins” on
page 154).

Chapter 18: Plug-Ins 151

 Available plug-ins Installed plug-ins

Install

Device selector

Figure 14. Options > Plug-Ins screen

4 Click the Device Selector pop-up menu and do one of the fol- Installing Plug-Ins Manually
lowing:
If a plug-in does not appear in the Plug-Ins to Install list, it
• Choose Previous Installs to access any plug-in installers af-
may not have a fully compatible VENUE installer and must be
ter a system update.
manually installed. This is required the first time you install
• Choose Console to access all factory-installed plug-in in-
the plug-in, and whenever you need to re-install a plug-in
stallers. after a system update or a full system restore.
(such as after using the System Restore CD to update or reset
• Choose an external storage device, as available, to access the system).
plug-in installers loaded in the CD-ROM drive.
A plug-in without a VENUE installer may still be com-
patible. Consult the plug-in manufacturer for compatibil-
ity information.
Device
selector
To install a plug-in manually:
1 Make sure all sound systems are shut down or muted.
Choosing a Device 2 Insert the plug-in installer disc into the CD-ROM drive.
5 Select a plug-in from the Plug-Ins to Install list on the left by
3 Go to the Options page and click the System tab.
doing any of the following:
• Click to select a single installer. 4 Hold the Ctrl key and click Shutdown Console on-screen. Fol-
low on-screen directions to exit to the Desktop.
• Shift-click to select multiple contiguous installers.
• Control-click to select or deselect installers one at a time. 5 Copy the plug-in installer to the partition named User Data.

6 Click Install to install the selected plug-ins. Once installed, 6 Launch the plug-in installer application and follow any
the plug-in appears in the Installed Plug-Ins list on the right. on-screen directions. If prompted, do not restart the system
from a plug-in installer. (Doing so will not harm the system,
7 Repeat as necessary to re-install all plug-ins needed on the
but will take longer, especially if you have multiple plug-ins to
system.
install manually.)

7 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.

9 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.

152 VENUE Profile Guide

Authorizing Plug-Ins
Managing Plug-Ins on the System
After installing a plug-in, the system re-creates the list of avail-
able plug-ins. Whenever the racks initialize, the system checks To keep your system up to date and running smoothly, always
authorizations for all installed plug-ins. If no previous autho- the current recommended versions of your plug-ins.
rization for a plug-in is recognized, you will be prompted to
Use the following features to check and maintain plug-in
try a demo version, or authorize the full version of the plug-in.
compatibility, to disable plug-ins, and how to remove and de-
VENUE software supports challenge/response and iLok USB lete plug-ins and their installers.
Smart Key authorization, including pre-authorized iLoks and
iLok Authorization cards. Plug-in Version Checker
Challenge/Response Challenge/response authorization is VENUE software includes a comprehensive database of
only valid for the single system the plug-in is currently in- plug-in version and compatibility information that can help
stalled on. Challenge/response codes can be communicated you maintain current versions of all your plug-ins. It also lets
using any computer with Internet access. the system warn you when you are about to downgrade a
plug-in (install an older version over a newer version).
It is not possible to connect a VENUE system to the Internet
directly. See the VENUE plug-in pages on the Avid website
(www.avid.com) for the most up to date information.
iLok USB Smart Key Plug-Ins supporting web authorizations
through iLok.com can be authorized for your iLok Smart Key To view plug-in version information:
from any computer with Internet access. This lets you take
1 Go to the Options > Plug-Ins page.
your iLok and your plug-in authorizations anywhere, to use
plug-ins installed on any system. 2 Select a single plug-in from the Plug-Ins to Install or In-
stalled Plug-Ins list (version information is not shown for a
VENUE systems provides multiple USB ports that can be multi-selection).
used to connect an iLok. For more information, see
Chapter 2, “Configuring and Connecting Profile.”

To authorize a plug-in:
1 When a plug-in authorization dialog appears, do one of the
following:
• To try a demo of the plug-in, 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.

Do not choose Internet Activation. Use Challenge/Response Info about a recommended update in Options > Plug-Ins
or an authorized iLok Smart Key for plug-in authorization.
The Info pane shows details about the currently selected
2 Follow the instructions on-screen to complete the software plug-in, including whether a newer version of the plug-in is
authorization process. available and 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 asks you to confirm.

Dialog shown when attempting to install a plug-in that has a known

newer version.

Chapter 18: Plug-Ins 153

 A similar dialog appears when attempting to replace an in- Enabling and Disabling Installed Plug-Ins
stalled plug-in with an older version of the same plug-in. Fol-
low the instructions on-screen to install anyway, or cancel. The Installed Plug-Ins list shows Disabled plug-ins in italics.
Plug-Ins can be manually disabled and enabled to manage
Using System Info to View Plug-in Version Information DSP resources, troubleshoot possible conflicts, and to manage
plug-in availability.
Plug-in version information is included in exported System
Info data. The Plug-in sections of the exported System Info file To globally disable or enable a plug-in:
show critical and recommended updates, with links to sites to
1 Click to select the plug-in name in the Installed Plug-Ins list,
download or check for newer versions.
at the right of the Options > Plug-Ins tab.

To use System Info for Plug-In Version Maintenance: 2 Right-click the plug-in and select whether to disable or en-

1 Insert a USB key disk into an available USB port. able the selected plug-in.

2 Go to the Options > System page. If assigned to any rack slots, the plug-in will be displayed as
unavailable and inactive.
3 Click the Info button.

Removing and Deleting Plug-Ins and

Installers
Removing a plug-in “uninstalls” the plug-in from the racks,
Export VENUE System Information button in Options > System
but its installer remains in the Previous Installs cache, making
4 Do any of the following: it easier to reinstall the plug-in at a later time without requir-
• If you have more than one USB key disk connected, make ing the installer CD or other media. (See “Removing Plug-Ins”
sure the correct USB key disk is selected. If it is not, click on page 154.)
Next Disk to cycle through each available disk until the
Deleting a plug-in completely removes it and its installer from
correct one is selected.
your system. (See “Deleting Uninstalled Plug-Ins” on
• Click Save to proceed and export system info to the se- page 155.)
lected USB disk.
• Click Cancel to dismiss the dialog without exporting. The list of plug-ins you see in VENUE software is updated au-
tomatically each time you load a Show file to keep plug-in lists
5 Click OK to confirm the export procedure. and menus uncluttered.
6 Remove the USB key disk.
You can also remove or delete plug-ins and/or their installers
You can now transfer the exported file to a personal computer manually.
for printing, formatting, archiving or distribution. If viewing
Installing, uninstalling, and deleting plug-ins are not sup-
the System Info document from a computer with internet ac-
ported using the Standalone software.
cess, use the included links to check for plug-in updates.
Removing Plug-Ins
Automatic Plug-ins Cleanup During Show Load

Plug-ins are verified while Show files are loaded to streamline To uninstall a plug-in from the system but leave its installer
plug-in lists and menus. Unused plug-ins (plug-ins that were available:
once installed but subsequently uninstalled or disabled) are 1 Put the system in Config mode.
identified, and will appear in lists and menus italicized.
2 Go to the Options page and click the Plug-Ins tab.
At any time, the plug-in lists can be reset manually using the
Remove Unavailable Plug-ins command. This command results
in the following:
• Plug-ins that are not available and not in use in the rack are
automatically filtered from plug-in menus when the show
file is stored. This filtered list is saved with the Show file.
• Plug-ins that are not available but are in use remain in the
rack and display a warning icon in their rack slot, and are
listed italicized in plug-ins menus.

154 VENUE Profile Guide

3 Right-click the specific plug-in name from the right-hand 3 Click the Device selector and choose Previous Installs.
list and choose the Uninstall option for the selected plug-in.

Right-click
Device
selector

Choosing a Device

4 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.

Uninstalling a plug-in Deleting Uninstalled Plug-Ins

Removing Unavailable Plug-ins from the Racks Once a plug-in is uninstalled, its installer can be deleted from
the system. (Plug-ins which are currently installed cannot be
Unavailable plug-ins can be removed from rack slots using the
deleted).
Remove Unavailable Plug-Ins command.

To completely remove a plug-in and its installer:

To manually remove unavailable plug-ins:
1 Put the system in Config mode.
1 Put the system in Config mode.
2 Go to the Options page and click the Plug-Ins tab.
2 Make sure the plug-in rack is fully initialized (the Status in-
dicator displays OK). 3 Select Previous Installs from the Device selector.

3 Click the Plug-In selector in any rack slot and choose Remove 4 Right-click the plug-in name and choose the Delete option
Unavailable Plug-Ins. This menu item is only available when for the selected plug-ins. The plug-in is removed from the sys-
one or more unavailable plug-ins are present in the rack. tem, and the stored plug-in installer is removed from the Pre-
vious Installs list.
4 Click Remove to proceed, or click Cancel. If you proceed with
the removal:
• All unavailable plug-ins are removed from the rack.
• Italicized entries for unavailable plug-ins are removed
Overview of Working with Plug-Ins
from all plug-in menu lists. The Plug-Ins screen displays the plug-in Racks, where the ma-
• All references to unavailable plug-ins are removed from jority of plug-in features are located.
the Insert Processing section of all affected channels, and
the insert point plug-in is set to None. To access the Plug-Ins page:
• All references to unavailable plug-ins are removed from  Press the Plug-Ins switch in the View Mode section (or click
all snapshots. the Plug-Ins tab). By default, the Plug-Ins page displays all four
racks, which are empty until plug-ins have been assigned. (See
The new, updated list of available plug-ins is subsequently
also ““Jump To” Plug-Ins” on page 163.)
saved to the Show file.

History File and Removing Plug-ins

A History file is written immediately before removing unavail-

able plug-ins from the rack, letting you recall that History file
to revert the system to its state prior to removing plug-ins.

Reinstalling a Removed Plug-in

To reinstall a removed plug-in: Plug-In racks (no plug-ins assigned)

1 Put the system in Config mode. You populate the racks by assigning plug-ins in rack slots. Dur-
ing a performance, plug-ins that have been assigned in rack
2 Go to the Options page and click the Plug-Ins tab.
slots can be inserted on channels and routed to/from busses
on-screen. Plug-in parameters can then be adjusted from the
console as well as on-screen.

Chapter 18: Plug-Ins 155

 Plug-In Racks
The Plug-Ins page provides four plug-in racks. Each of the four racks has 25 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.

Racks 1–4 Click to display

Zoom Toggle
Presets

Push-pin

Rack slots

Mode and Status

Figure 15. 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 The Plug-Ins page can be displayed in Full or Zoom views,
Rack 4. You can rename each rack as needed. with the option to display either view in Mini-view mode.

To rename a plug-in rack: Full View

1 Double-click the rack name to highlight it on-screen.
The default view of the rack screen is Full view, in which all
2 Type a new name and press Enter. To return a rack to its de- four racks are shown (see Figure 15). This screen provides ac-
fault name, leave the name blank and press Enter. cess to all rack slot controls, and shows an icon representing
each assigned plug-in. This lets you quickly see what plug-ins
Plug-Ins can be placed in any rack slot. Use the different are available, and adjust their routing.
racks to organize processing functions such as Dynamics,
EQ, Reverb, or Group Inserts.

156 VENUE Profile Guide

Zoom View (Plug-In View Mode) Identifying Rack Slots
In Zoom view, a single rack remains on-screen to the left, and The racks indicate which plug-in is currently targeted by high-
the rest of the screen displays the targeted plug-in. lighting its rack slot controls in blue.

Targeted plug-in
(rack slot
highlighted in
blue)

Highlighted rack slot indicating 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
Plug-In display View Toggle Indication
Outline

Zoom view, with a plug-in window open on-screen Green An EQ plug-in is mapped to the console

To toggle Full or Zoom view modes, do one of the following: Blue A Comp/Lim plug-in is mapped to the console

 Press the Plug-Ins switch (in the View Modes section), or Yellow An Exp/Gate plug-in is mapped to the console
click the View toggle switch (upper right corner of the rack).
Red A plug-in is mapped to the Assignable Output Encoders
(Insert mode)

Display of Unavailable or Inactive Plug-Ins

It is possible for a plug-in to be displayed in a rack slot but be
unavailable for channel and bus processing. This can occur in
Zoom/Full view toggle
any of the following circumstances:
– or –
• There is not enough DSP available for the plug-in.
 Double-click a plug-in icon in any rack view to open that • The assigned plug-in is part of the show file but is not in-
plug-in window in Zoom view. stalled on the current system.
• The plug-in has been disabled manually.
VENUE provides other ways to jump to a plug-in view. For
more information, see ““Jump To” Plug-Ins” on page 163. To view DSP resource allocation, see “DSPs Available for
Plug-Ins” on page 58.
Mini-View Mode
Unavailable Plug-Ins
Mini-view mode is an option available in Full and Zoom
modes in which the rack slot displays are minimized and When a plug-in cannot be used due to insufficient DSP re-
plug-in icons are hidden, to let you see more of the racks at sources, because it is disabled, or because it is not installed, a
one time. You can still bypass, route, and work with plug-in warning icon appears in front of that plug-in. The plug-in icon
snapshot controls in Mini-view mode. is dimmed, and the rack slot Power switch has a yellow LED.

To toggle mini-view on or off:

 Click the Mini-view icon (upper left corner of the rack
view).

Unavailable plug-in
Indication of an unavailable plug-in

Mini-view For more information, see “Installing and Authorizing

Plug-Ins” on page 151.

Chapter 18: Plug-Ins 157

 Inactive Plug-Ins In/Out (bypass)

When a plug-in has been manually made inactive, the plug-in The In/Out switch takes the rack slot in or out of circuit (by-
icon is greyed out. Plug-Ins can be made inactive manually, passes the slot and any plug-in assigned to it).
letting you retain their assignment and settings in the rack
while freeing up their DSP resources for other tasks. 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
Once a plug-in has been routed, its input source is displayed in
For more information, see “Active and Inactive Plug-Ins” on
the Input area of each rack slot, as follows:
page 160.
• If the plug-in is being used as an insert, the channel or
Scope Indication in the Plug-Ins Page bus name and number is shown, for example, Kick (Ch 1)
or Aux (1–2). The Channel Insert/Bus Output selector au-
The Plug-In Rack provides visual indication whenever a tomatically switches to Channel Insert mode, showing
plug-in is scoped in the currently targeted snapshot. The Snap- the insert point occupied by the plug-in.
shot pop-up menu turns red whenever that plug-in is scoped • If the plug-in is on a bus, the selected bus source is shown
by the currently targeted snapshot. 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) The Channel Insert/Bus Output pop-up menu displays differ-
ent choices depending on whether the plug-in is being used as
Indication of a scoped plug-in a channel insert, or as a bus processor, as follows:
For more information, see “Plug-In Presets and Snapshots” on • If the plug-in is being used as a channel insert, the Chan-
page 164. nel Insert selector shows the four insert points on that
channel (1–4). The letter “I” is shown before the insert
number (for example, I–1 indicates the current plug-in is
Rack Slots
inserted into the first insert position on its channel).
Each rack provides 25 plug-in slots. You can assign any in- • If the plug-in is being used as a bus processor, the menu
stalled plug-in to any available rack slot. becomes the Output selector used to select the destina-
tion for plug-in output.
Current routing assignment

Input (source)

Power Channel Insert

or Output
Plug-In
In/Out selector
Snapshots
Assigned plug-in

A rack slot and its controls, with an assigned plug-in shown

Channel Insert Bus Output
Each rack slot provides the following controls to select and
A mono plug-in inserted on a channel (at left) and a stereo plug-in
manage plug-ins:
assigned as a bus processor (at right)

Power (Config Mode Only) Plug-In Selector

Power turns the rack slot on or off. When off, the plug-in con- The Plug-In selector displays a list of available plug-ins to load
sumes no DSP. into that rack slot. Plug-Ins are arranged by process type (such
as EQ, Dynamics, and Delay). For more information, see “As-
signing and Routing Plug-Ins” on page 159.

158 VENUE Profile Guide

Snapshots Menu Plug-In Formats
The Snapshots menu provides tools to manage snapshot-re- Plug-Ins inserted on channels must be symmetrical (in other
lated plug-in features from within the Plug-Ins screen. Using words, mono in/out or stereo in/out). Plug-Ins on busses can
the Snapshots menu, you can quickly check to see which ex- be asymmetrical (mono-in/stereo or multichannel out).
isting snapshots refer to the current plug-in, as well as create,
update, or remove snapshots. Mono Can be used as inserts only in mono strips or mono
Auxes, mono Groups, or Matrix busses or on the C/M bus.
Side-Chain Selector
Stereo Can be used as inserts in stereo strips, stereo-linked
The Side-Chain selector appears near the top of the Rack view Auxes, stereo Groups, PQ busses (which are always stereo) and
when you select a plug-in that supports side-chain or “key” in- across the L–R busses.
put. In Config mode, the Side-Chain selector lets you establish
Other (Mono In/Stereo Out) Can be used on busses for delay,
a side-chain routing to the plug-in. Once established, you can
reverb, and similar processing.
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. Moving and Copying Plug-Ins
(Config Mode Only)

To move or copy a plug-in in the rack, drag the plug-in icon to

Assigning and Routing Plug-Ins a new rack slot. A pop-up menu appears offering three choices:
Before you can use a plug-in as a channel insert or bus proces- Cancel, Copy Plug-In Here, or Move Plug-In Here.
sor the plug-in must be assigned to a rack slot.
Moving a Plug-In
Before a plug-in can be assigned, it must be installed. See
When you move a plug-in from one rack slot to another, the
“Installing and Authorizing Plug-Ins” on page 151.
plug-in type, in/out state, power on/off, current plug-in set-
tings, and routing are maintained. In addition, all associated
Assigning Plug-Ins to Rack Slots snapshots are updated to reflect the new rack position.

To assign a plug-in: Copying a Plug-In

1 Put the system into Config mode.
When you copy a plug-in to a new rack slot, the source plug-in
2 Go to the Plug-Ins page. type, in-circuit state, active state, and current plug-in settings
are copied to the destination rack slot. However, the source
3 Click the Plug-In selector on an empty rack slot (or on an al-
plug-in routing is not copied. In addition, plug-in snapshots
ready assigned rack slot to change a plug-in assignment.)
are not copied.
4 Choose an available plug-in from the Plug-In selector
sub-menus. Only plug-ins that are installed will be available. 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 refer-
ences to the deleted plug-in in existing snapshots will be au-
tomatically cleared.

Plug-In selector menus

If the plug-in is not installed or there are insufficient DSP re-

sources available, the plug-in will appear as unavailable, or in-
active.

Place the cursor over the plug-in to display a Tool Tip that
explains why the plug-in is unavailable or inactive.

Chapter 18: Plug-Ins 159

 Active and Inactive Plug-Ins To insert a plug-in on a channel from the Plug-Ins page:
1 Make sure the plug-in is already assigned to a rack slot. (See
To toggle the active/inactive state of a plug-in: “Assigning and Routing Plug-Ins” on page 159.)
 Click the appropriate rack slot Power switch. When active,
2 Click the Input (source) selector in the rack slot and choose
the Power switch is lit green. When a plug-in is unavailable
a channel from its Inserts sub-menu.
(and inactive), the Power switch is lit yellow.

Power

Inserting a rack slot on a channel from the Plug-Ins page

Indication of an inactive plug-in
The rack slot automatically identifies and connects to the first
available insert slot (1–4) on the selected channel. The Chan-
Routing Plug-Ins
nel Insert selector shows the current insert position.
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

Each channel provides four slots for channel inserts. Signal
from the channel is routed to the insert and returned to the Channel Insert selector for a plug-in rack
same channel. You can assign plug-ins to specific channel in- If no insert slots are available on the channel, the selector dis-
sert points from the Plug-Ins screen or from the Input screen. plays a question mark.

To insert a plug-in on a channel from the Inputs or Outputs page:

Using Plug-Ins as a Bus Processor
1 Go to the Input or Output screen.
Plug-Ins can be used on busses for send-and-return processing
2 Click the first available Channel Insert selector and choose with effects such as reverb and delay. A plug-in is configured
an available plug-in from the rack sub-menus. All currently for bus processing by assigning an Aux, Group, Matrix, PQ or
available plug-ins of a compatible mono/stereo format are Mains bus (including Monitor output), or an input channel
listed in the sub-menus. Plug-Ins that are unavailable are Direct Out, as the plug-in input source, then assigning the
listed in italics. Plug-Ins that are already assigned as channel output of the plug-in to an input channel or FX return, or to
inserts are shown with their insert assignment. a hardware output, as follows:
• Return bus-fed plug-ins to an input or FX Return to estab-
lish an effects send-and-return path.
• Route bus-fed plug-ins to a hardware output for special-
ized processing needs (such as feeding an external cross-
over).

You assign plug-ins for bus processing in the Plug-Ins screen.

To use a plug-in as a bus processor:

1 Go to the Plug-Ins screen.

Clicking the Channel Insert selector (top) 2 Make sure the plug-in is installed and assigned to a rack slot.

3 The plug-in appears in the Inserts list for that channel.

4 To open the window for an inserted plug-in, click its name

in the channel Inserts list.

A plug-in assigned to a rack slot

160 VENUE Profile Guide

3 Click the Plug-In Input selector at the top of the correspond- Side-Chain Routing
ing rack slot, and choose an available bus from the Input
sub-menus. VENUE systems support side-chain (key) processing for
plug-ins that support side-chain triggering.

Plug-in Input selector Side-chain routing is not stored in snapshots.

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.
Assigning plug-in Input source to a Group bus

4 Click the Plug-In Output selector and choose a destination

channel or bus.

Click to select Click to specify

Key (side-chain) side-chain pickoff
source
Side-Chain controls

To assign side-chain routing to a plug-in:

1 Select a plug-in that supports side-chain processing.

2 Put the system into Config mode to display the Side-chain

tools.
Assigning plug-in output
3 Choose the side-chain source signal from the Key Source
When a bus-fed plug-in has both its input source and output
pop-up menu.
assigned, it appears similar to the following in the rack:
4 Choose the pickoff point (tap) for the side-chain signal from
the Source Pickoff pop-up menu.

Adjusting Plug-Ins
A bus-fed plug-in in the rack
Plug-Ins can be selected and adjusted from the console or
Routing Channel Direct Outs to Plug-Ins on-screen.

You can route input channel Direct Outs to plug-ins. This lets
you directly feed plug-ins from individual channels to pre- On the Console
serve Aux busses for other uses, with control over send level
VENUE Profile provides plug-in controls in the ACS and Out-
using the channel Direct Out level control.
put encoder sections for real-time interaction with plug-ins.

Insert Processing

The Insert Processing section lets you bypass, select, and target
plug-ins inserted on the currently selected channel.

Assigning a channel Direct Out as a plug-in input source in the Plug-Ins

page
Plug-Ins 1–4
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 as-
signment made for that Direct Out. This makes it possible to
use a channel’s Direct Out to route that channel to both a LED
In/Out Select
Pro Tools recording option and to a plug-in.
ACS Insert Processing section

Chapter 18: Plug-Ins 161

 Dynamics To adjust a plug-in from the console:

Dynamics plug-ins can be selected and adjusted in the Dy- 1 Select the channel or bus on which the plug-in is inserted.
namics section in the ACS. (Dynamics and EQ plug-ins can be To select a bus processing plug-in, bank to and select the FX
targeted on the ACS and Output encoders simultaneously). Return or other channel assigned as the plug-in output.

2 In the Insert Processing section of the ACS, press the Select

Threshold Attack Release
Ratio
Comp Knee/ Comp Gain/ switch for the plug-in so that its switch is lit.
Gate Hold Gate Range
3 Press the Insert Mode switch, located near the Output en-
coders. The first page of plug-in parameters is mapped to the
eight Output encoders.

4 To reset a parameter to its default value, hold the Alt key

while rotating or pushing an encoder.

5 To adjust with greater resolution, hold the Ctrl key while ro-
In/Out Select Dynamics In/Out
tating an encoder.
Gain Reduction
meters
6 Press Previous Page or Next Page to bank to other plug-in pa-
ACS Dynamics section and controls
rameters.
Equalizer
Display of Plug-Ins in Insert Mode
EQ plug-ins can be selected and adjusted with the controls in
the EQ section in the ACS. (EQ and Dynamics plug-ins can be While in Insert Mode, the Output LCD displays the value and
targeted on the Output encoders and ACS simultaneously. name of the 8 currently banked plug-in parameters in the up-
per and lower row, respectively, for each parameter.
Plug-In Low Low-Mid High-Mid High
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 pa-
rameter 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:
In/Out
ACS EQ controls  Press Default/Alt+Insert Mode.

Output Encoders Using the Source Switch

The Output encoders can be placed into Insert mode to adjust
The Source switch toggles Input displays to show the names of
any selected plug-in. Plug-in parameters map to the eight en-
bus-fed plug-ins routed to a channel. Use the Source switch to
coders and their switches; additional parameters are accessed
quickly identify which FX Returns or other channels are being
with the Previous Page and Next Page switches.
used as plug-in returns.

Output Encoders 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.
Insert Mode
switch

Encoders and Insert mode switch in the Output section

162 VENUE Profile Guide

Bypassing Plug-Ins Plug-ins On-Screen
To bypass a plug-in from the console: The software screen can be used to patch, route, or re-route
plug-ins during a performance, even while in Show mode.
1 Select the channel on which the plug-in is inserted.
Plug-Ins must be installed on the system and assigned to a
2 In the Insert Processing section of the ACS, press the In/Out
rack slot to be available while mixing. See “Assigning
switch for the plug-in to toggle it in-circuit/out-of-circuit.
Plug-Ins to Rack Slots” on page 159.
When the switch LED is lit, the plug-in is in-circuit. When un-
lit, the plug-in is out-of-circuit (bypassed).
“Jump To” Plug-Ins
The Input and Output screens let you “jump to” a specific
plug-in insert to adjust it on-screen.

To jump to a plug-in insert from the Inputs or Outputs screen:

In/Out
1 Select a channel to show it in the Inputs or Outputs page.

2 Click the plug-in name shown in the channel Insert section.

LED
Insert Processing section
Click
To bypass a plug-in on-screen:
1 Select the channel on which the plug-in is inserted. Jumping to a plug-in on a channel insert

2 In the Inserts section of the Inputs or Outputs page, click the To jump to a plug-in on a bus:
In/Out switch for the plug-in to toggle it in-circuit/out-of-cir- 1 Bank to the FX Return or other channel type assigned as the
cuit. When lit, the plug-in is in-circuit. When unlit, the plug-in output, or bank to the output feeding the plug-in.
plug-in is out-of-circuit (bypassed).
2 Select the channel to display it in the Inputs or Outputs
screen.

3 Click the routing displayed beneath the Channel Name.

In

Out
Unassigned

In/Out

LED indication of in circuit and out of circuit (bypassed) inserts Jumping to a plug-in on an FX Return

Plug-Ins Screens and Channel Selection

When jumping to a plug-in, display depends on the type of
plug-in routing, as follows:

Channel Inserts If the Plug-Ins screen is in Zoom view while

you 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.

Chapter 18: Plug-Ins 163

 Pinning a Plug-In View To save a Preset:
1 Adjust the plug-in parameters as desired.
It is possible to decouple the plug-in view from the console for
consistent and constant access to a single plug-in on-screen, 2 Click the Presets icon in the Plug-Ins screen.
while still being able to select and adjust other plug-ins from
3 In the Presets window, click New.
the console. This capability is useful any time you want to al-
ways display an important plug-in (such as an analysis plug-in 4 Enter a custom name for the Preset.
or primary EQ).
To load a Preset into a plug-in:
To pin a plug-in view:
1 Make sure the presets are already transferred and available
1 Bring the desired plug-in into the main plug-in view (use the on the current system. (Many plug-ins come with factory pre-
channel Select and Insert Mode switches, or double-click the sets that will be installed along with the plug-in.)
desired plug-in in the rack).
2 Select the channel containing the plug-in, and target the de-
2 Click the Push-Pin icon in the upper-right of the screen (the sired plug-in (press the Insert Mode switch, or click the plug-in
icon is located just to the left of the Presets and View Toggle on-screen).
icons.
3 Click the Presets icon in the Plug-Ins screen.
• When enabled, the Push-Pin icon appears lit. This indi-
cates that the current plug-in will remain on-screen and 4 Single-click a preset name in the Presets list to preview it.
will not lose focus, even if another channel is targeted. With the Presets list displayed, do any of the following:
• When not enabled, the Push-Pin icon appears unlit. • To scroll through the list, press Up or Down arrow keys
Plug-in view follows control surface selections. 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 set-
Push-Pin plug-in view icon tings.

Snapshots
Plug-In Presets and Snapshots
Snapshots can automate plug-in settings, including routing,
You can save and load plug-in Presets files to import, export, and in/out state. (Side-chain routing is not supported in Snap-
and transfer plug-in settings files. shots.)

Snapshots can also be used to automate changes to plug-in Snapshots can also store and recall tempo, to synchronize de-
routing and settings. lay and echo plug-ins that support Tempo Sync.

Presets can be applied to multiple Shows, while snapshots Snapshots do not store or recall Presets. Snapshots store
apply only to the Show file in which they are stored. plug-in settings at the time the Snapshot is created or saved.

Each rack slot in the Plug-Ins screen provides a Snapshot

Presets
menu, with shortcuts for common snapshot-related tasks:
Presets are files that you can create to save, load, archive and
• Create a new snapshot
transfer custom plug-in settings. You can then create your
own Preset folders to organize Preset files. Preset folders and • Add one or more plug-ins to the MIDI/Plug-Ins list, and au-
files can be transferred using the Filing Page. tomatically re-scope the snapshot to include plug-ins.
• Remove plug-ins from one or more snapshots
To create a custom Presets folder:
Snapshots Containing this Plug-In Lists all currently loaded
1 Go to the Filing page and click the Transfer tab. snapshots referencing the plug-in, in sequential order. Choose
2 Click the Preset Folders icon. a snapshot to load it. (This menu option is useful for targeting
snapshots while editing plug-in racks.)
3 Click the New button at the left of the screen.

4 Do one of the following:

• To leave the folder at its default name, press Enter.
– or –
• Type a new name and press Enter.

164 VENUE Profile Guide

Create New Snapshot Containing this Plug-In Adds a new snap-
shot to the snapshot list in which only plug-ins are scoped. Plug-In DSP Usage
This snapshot is inserted immediately after the currently tar-
Plug-Ins utilize DSP resources when they are assigned to a rack
geted snapshot, which may not necessarily be the last snap-
slot, and that rack slot is powered on. You can turn off unused
shot. The snapshot is named to reflect the plug-in rack posi-
plug-ins to reclaim their DSP by making them inactive, or by
tion, for example: “PI 1-1: Reverb One” is a Reverb One
removing them from the system.
plug-in assigned to rack 1, slot 1.
Plug-In availability is limited to the available DSP resources.
Add (or Update) this Plug-In to Snapshot Adds a plug-in refer-
ence, with current settings, if the currently targeted snapshot The amount of DSP available for plug-ins also varies with the
does not already reference this plug-in. If the currently tar- current system configuration settings for Input Channels, FX
geted snapshot already references this plug-in, the choice is Returns, and graphic EQs. Higher number of Input Channels
Update (see next). If multiple snapshots are selected, this com- leave fewer DSP resources for plug-ins, as shown in the Op-
mand changes to “Add Plug-In to Selected Snapshots” for tions > System Config screen.
batch-assignment.

Update this Plug-In in Snapshots Updates snapshots with cur- Initializing the Plug-In Racks
rent settings, if the currently targeted snapshot (or currently
The racks are initialized (or re-initialized) whenever the sys-
selected snapshots) already references this plug-in.
tem is first powered on, whenever the FOH Rack is restarted,
Remove this Plug-In in Snapshot Removes reference to this after installing a plug-in, and after disabling or re-enabling a
plug-in in the currently targeted snapshot, or from all cur- plug-in.
rently selected snapshots.
While the racks are initializing, they are offline and do not
See Chapter 21, “Snapshots.” process audio. Avoid performing any Filing or Transfer func-
tions until the racks are finished initializing. Rack status is dis-
Plug-Ins and VENUE Standalone Software played on-screen in the banner display.

You can use VENUE Standalone software to preconfigure

plug-in routing and in/out state, with the following limita-
tions: Plug-In Levels
• Plug-Ins cannot be installed in the Standalone Software. VENUE systems display levels in meters in dBVU, with
• A Show file must be transferred from a console on which 0 dBVU =+4dBu analog out = –20dBFS.
plug-ins were previously installed. Internally, VENUE systems provide up to 48-bit processing for
Once a Show file containing plug-ins has been transferred to built-in EQ and dynamics. Plug-Ins provide up to 24-bit pro-
the standalone software, the following rules apply: cessing, with level matching circuitry and logic ensuring max-
imum fidelity and sonic performance throughout the entire
• Plug-Ins can be placed in racks and routed in Standalone
signal path. Due to variances in how plug-in metering is im-
mode.
plemented by different manufacturers, performance may vary
• Snapshots can be created, loaded, and stored. with regard to plug-in gain reduction meters and their relative
• Plug-In settings cannot be adjusted. levels.
• Plug-In Presets cannot be saved or loaded.
When using side-chain routing, be aware of potential level dif-
ferences between Input Channel pickoff points. For more in-
formation, see “Side-Chain Keys and Filters” on page 139.

Chapter 18: Plug-Ins 165

 Plug-In Latency and Processing Delay
Plug-In latency includes processing delay of the plug-in itself
plus routing delay, as follows:
• Instance delay: 2 samples per plug-in
• DSP routing delay: 3 samples

Viewing Plug-In Latency

Cumulative channel processing delay can be viewed by

right-clicking the Inserts area of the selected channel. The cu-
mulative delay includes latency reported by all inserted
plug-ins, signal routing and the known hardware insert delay,
if applicable.

Total delay

Viewing cumulative delay by right-clicking the Inserts section

Individual plug-In processing delay can be seen by right-click-

ing 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).

166 VENUE Profile Guide

Chapter 19: Hardware Inserts

Mix Rack and FOH Racks let you route signals to and from external devices as hardware inserts. Hardware inserts can be used on
input channels, FX returns, Groups, Auxes, Matrixes, Personal Qs, and Mains.

Mix Rack and FOH Rack provide 8 analog hardware insert channels. Up to 16 analog and 8 digital hardware inserts can be used
with an FOH Rack (requires an I/Ox expansion option).

Analog I/O 1–8

IO
section

Figure 16. Hardware insert patch points on Mix Rack and FOH Rack, showing standard mix position (FOH) I/O connectors

Connecting External Effects Units 2 In the Inserts section, do one of the following:
• Click the Hardware Insert pop-up menu and choose an in-
Outboard gear is made available to the system by connecting
sert destination directly from the menu. The name of the
its inputs and outputs to connectors in the FOH I/O sections
hardware insert destination appears in the on-screen
of the Mix Rack or FOH Rack. Hardware inserts can then be as-
Hardware Insert button.
signed on channels similarly to inserting plug-ins.
– or –
To connect outboard gear for use as a hardware insert: • Click the Hardware Insert button to go to the Inserts page
of the Patchbay, and assign the insert from the Patchbay.
1 Connect the external device inputs to analog or digital Out
connectors (Analog 1–8, Analog 9–16, or AES 1–8) on the
Mix Rack or FOH Rack.
Click to Click to
assign go to the
2 Connect the external device outputs to the corresponding
Patchbay
In connectors on the back panel of the Mix Rack or FOH Rack.
For example, signal taken from FOH Output 1 returns on FOH
Input 1.

Assigning a hardware insert in the Outputs page

Assigning Hardware Inserts to To assign a hardware insert from the Patchbay:

Channels 1 Go to the Patchbay and click the Inserts tab. The Hardware
Tab for the Mix Rack or FOH Rack is shown.
You can assign hardware inserts directly from the Inputs page
or Outputs page. You can also make hardware insert assign- 2 Click the Channels, FX Returns, or Outputs tabs to show the
ments from the Patchbay. desired channel types in the grid. If you jumped to the patch-
bay from the Inputs or Outputs page, the appropriate Channel
For complete instructions, see Chapter 12, “Patchbay.” Type tabs are automatically enabled.

To assign a hardware insert to a channel or bus:

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.

Chapter 19: Hardware Inserts 167

 3 Click in the channel grid to assign the insert input/output Activating and Bypassing Hardware Inserts
number (listed across the top) to the channel where you want
to assign the insert (listed on the left). The controls for activating and bypassing hardware inserts are
available on-screen in the Inserts sections of the Inputs and
Outputs pages.

To activate or bypass a hardware insert:

1 Target the channel where you want to activate or bypass the
insert by pressing the channel Select switch.

2 Click the In/Out button for the HW insert. The button lights
when the insert is activated (in circuit).

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 loca-
tion 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 sig-
nal path relative to the four plug-in inserts, for each channel.

To set the hardware insert location:

1 Go to the Outputs page and select the channel where you
want to set the hardware insert location.

2 In the Inserts section of the Outputs page, click the hard-

ware insert indicator so that it lights red.

Click to set
HW Insert
location

In/Out

Setting a hardware insert location in the Inputs page

168 VENUE Profile Guide

Part V: Shows
Chapter 20: Shows and File Management

Data can be stored, recalled and transferred between VENUE Creating Show Folders
systems. There are three types of information files that can be
managed separately, as follows: To create a new Show Folder:

Show Files These files are used to store, recall and transfer sys- 1 Go to the Filing page and click the Save tab.
tem settings, snapshot, and events. 2 In the Show Folders column, click the New button.

Preset Files These files are used to store settings for channel 3 Type a name for the Show Folder and press Enter.
strips, built-in processors and plug-ins, and Recall Safe Scope
Sets. Duplicating Show Folders
Console Setting Files These files are used to transfer or back up
To duplicate a Show Folders:
the current state of the VENUE system.
1 In the Show Folders column, click a Show Folder name to se-
The system does not need to be in Config mode to carry out lect the folder.
file management tasks. However, many file management
2 Click the Duplicate button.
operations, including loading Shows, may interrupt audio
throughput. Make sure to perform all file management The folder and all of the Show files it contains are duplicated.
tasks before a performance.
You can also duplicate folders by right-clicking a Show
Folder name and choosing Duplicate.
Creating Shows
Renaming Show Folders
A Show file contains all configuration, signal routing, mixer
settings, plug-in information, snapshots, and other opera- To rename a Show Folder:
tional settings. Shows are grouped together in Show Folders.
1 In the Show Folders column, click a Show Folder name to se-
lect the folder.
Show Folders
2 Click the Rename button.
Show Folders contain Show files. You can create and manage
Show Folders from the Save tab of the Filing page. You can also rename Show Folders by right-clicking a Show
Folder name and choosing Rename, or by double-clicking a
Show Folder name.

3 Type a new name for the Show Folder and press Enter.

Deleting Show Folders

When you delete a Show Folder, all Show files contained in
that folder are also deleted.

To delete a Show Folder:

1 In the Show Folders column, click a Show Folder name to se-
lect the folder.

2 Click the Delete button.

Show Folders and Show files in the Save tab of the Filing page You can also right-click a Show Folder name and choose
Delete to delete the folder.

Chapter 20: Shows and File Management 171

 Show Files Renaming Show Files

Creating and Saving Show Files To rename a Show file:

1 In the Shows column, click a Show file name to select it.
When you create a new Show file, it captures the current state
of the system. Show files are automatically saved when they 2 In the Shows column, click the Rename button.
are created or overwritten.
You can also right-click a Show file name and choose
To create a new Show file: Rename, or double-click the Show file name to rename
the file.
1 Go to the Filing page and click the Save tab.
3 Type a new name for the Show file and press Enter.
2 In the Show Folders column, select the Show folder where
you want to save the Show.
Deleting Show Files
3 In the Shows column, click the New button. The new Show
file captures the current state of the system. To delete a Show file:
4 Type a name for the Show file and press Enter. 1 In the Shows column, click a Show file name to select it.

5 Double-click in the Notes field for the Show and type any 2 In the Shows column, click the Delete button.
comments you want to save with the Show.
You can also right-click a Show file name and choose
Information about the Show file is shown in the Info area of Delete to delete the file.
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.
To update or overwrite an existing Show file:
 In the Shows column, right-click the Show file name you Shows cannot be loaded onto the destination VENUE system
want to overwrite, and choose Overwrite from the pop-up directly from a portable storage device; they must first be
menu. The current state of the system is saved to the selected transferred to the system before loading.
Show file.
Loading a show automatically replaces the current console
settings with those of the loaded show, and may interrupt
audio throughput.

Right-clicking a Show file name in the Shows column

Duplicating Show Files

To duplicate a Show file: Show Folders and Show files in the Load tab of the Filing Page
1 In the Shows column, click a Show file name to select it. To load a Show file:
2 In the Shows column, click the Duplicate button. 1 Go to the Filing page and click the Load tab.

You can also right-click a Show file name and choose 2 In the Show Folders column, click a Show Folder name to se-
Duplicate to duplicate the file. lect the folder. Any Show files in the folder are displayed in the
Shows column.

3 In the Shows column, click a Show file name to select it.

4 Click the Load button.

172 VENUE Profile Guide

The system loads the new Show file, replacing the current sys-
tem configuration, routing, and control settings with those Working with Presets
contained in the new file.
Preset files are used to store, recall and transfer factory or
user-defined presets. Preset files are grouped in the following
System Configurations and Loading Shows types of Preset Folders:
Show files include VENUE system configuration settings (such Built-in 4-band EQ, 31-band Graphic EQ, Compressor/Lim-
as the type of console (VENUE Profile or VENUE D-Show Main iter, Expander/Gate, and Input Channel Presets
and Sidecars); the number of Mix Engines; Number of Input
Channels, FX Returns, and EQs; Aux and Group Bus configu- Plug-In Plug-ins Settings Files
rations), and plug-in status.
Scope Sets Settings for Recall Safe configurations
• If a Show file includes the same system configuration set-
tings as the current configuration, the configuration infor-
mation appears in blue text in the Info area. Preset Folders
• If a Show file differs from the current configuration, but can Preset Folders contain Preset files. Each of the built-in proces-
be loaded on the system, the relevant configuration changes sors (Compressor/Limiter, Expander/Gate, 4-band EQ,
appear in orange text in the Info area. When the Show file is 31-band Graphic EQ) and each plug-in has its own Factory De-
loaded, the system restarts in the new configuration. faults folder. Additional folders are provided for Scope Sets.
• If a Show file differs from the current configuration and can-
You can create additional Preset Folders for each processor or
not be loaded on the system in its entirety, the configura-
plug-in and store new Presets in them. These folders can then
tion information appears in red text in the Info area.
be transferred to a portable storage device for transfer to other
• Plug-in status is reviewed: VENUE systems.
• Plug-ins that have been removed (uninstalled) no longer ap-
For information on saving, previewing and loading built-in
pear in menus and lists.
dynamics and EQ presets, see Chapter 16, “Dynamics” and
• Plug-in versions are checked for compatibility with the cur- Chapter 17, “EQ.”
rent system. For plug-in settings, see Chapter 18, “Plug-Ins.” For Scope
Sets, see Chapter 21, “Snapshots.”
For more information on plug-in management, see “Man-
For Input Channel Presets, seeChapter 5, “Navigating and
aging Plug-Ins on the System” on page 153.
Selecting Channels”,
If a Show configuration is too large for the current system, mix
Creating Preset Folders
elements are dropped in the following order:

1 Plug-Ins are deactivated To create a new Preset Folder:

2 Graphics EQs are dropped 1 Go to the Filing page and click the Transfer tab.

3 Input Channels are dropped 2 Click the Preset Folders icon. A list of Preset Folders appears
in the left column.

Preset Folders icon in the Transfer tab of the Filing page

3 In the left column, click the New button.

4 Type a name for the Preset Folder and press Enter.

The new Preset Folder is available in the Preset window for

each processor or plug-in.

Chapter 20: Shows and File Management 173

 Duplicating Preset Folders 2 Click the Built-In or Plug-In icon and choose a processor or
plug-in from the pop-up menu. The available Preset Folders
To duplicate a Preset Folder: for the processor or plug-in appear in a pop-up menu above
the left column.
1 In the left column, click a Preset Folder name to select it.

2 Click the Duplicate button.

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

Built-In EQ in the Transfer tab of the Filing Page
To rename a Preset Folder:
3 Click the Preset Folder name and choose a Preset Folder from
1 In the left column, click a Preset Folder name to select it.
the pop-up menu. Any Presets in the folder appear in the left
2 Click the Rename button. column.

You can also right-click a Preset Folder name and choose

Rename, or double-click a Preset Folder name to rename the
folder.

3 Type a new name for the Preset Folder and press Enter.

Deleting Preset Folders

When you delete a Preset Folder, all Presets contained in that
folder are also deleted.

To delete a Preset Folder: Preset Folder names at the top of the Presets column

1 In the left column, click a Preset Folder name to select it. 4 Click a Preset file name to select the file.

2 Click the Delete button. 5 Click the Duplicate button.

You can also right-click a Preset Folder name and choose You can also right-click a Preset file name and choose Du-
Delete to delete the folder. plicate to duplicate the Preset.

Renaming Presets
Preset Files
You can manage Preset files from the Transfer tab of the Filing To rename a Preset file:
page. You cannot create Preset files from the Filing page. Pre-
1 In the left column, click a Preset file name to select the file.
set files are created from the Presets window of the channel,
processor or plug-in; Scope Sets are created from the Scope Sets 2 Click the Rename button.
window of the Recall Safe page.
You can also right-click a Preset file name and choose Re-
name, or double-click a Preset file name to rename the Pre-
Duplicating Presets
set.

To duplicate a Preset file: 3 Type a new name for the Preset file and press Enter.
1 Go to the Filing page and click the Transfer tab.
Deleting Presets

To delete a Preset file:

1 In the left column, click a Preset file name to select it.

2 Click the Delete button.

You can also right-click a Preset file name and choose De-
lete to delete the Preset.

174 VENUE Profile 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 be-
tween 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 desti-

nation 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 man-
4 Do one of the following to select the items to transfer:
aged from the Transfer tab of the Filing page. The Transfer tab
shows the system-resident files in the left column and the • In the left column, select the items you want to transfer
contents of the portable storage device in the right column. to the portable storage device.
Items are selected for transfer in the center. – or –
• In the right column, select the items you want to transfer
from the portable storage device to the VENUE system.

5 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

Instead of transferring data in one direction between the
VENUE system and a portable storage device, you can syn-
chronize all data in both columns of the Transfer tab in a sin-
gle operation.
File transfer controls

To transfer Settings, Shows or Presets to or from a portable Synchronizing data causes new files to be copied and files with
storage device: the same name but a more recent modification date/time to be
automatically updated.
1 Go to the Filing page and click the Transfer tab.

2 Connect a portable storage device (such as a USB key disk) to When synchronizing data, the VENUE software re-
the system. The device appears above the right column. places data files of the same name with the file that has
the most recent date/time. Check to be sure that the sys-
3 Do one of the following to select the type of data to transfer: tem clock times and time zones are correctly set on the
• To transfer all data, click the Console icon. system and on the computer running the Standalone
• To transfer Console Settings, click the Settings icon. software when preparing data for synchronization.
• 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
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 20: Shows and File Management 175

 To synchronize Settings, Shows, or Presets between the VENUE The Notes field for each auto-saved Show file includes a de-
system and a portable storage device: scription of the conditions that caused the automatic save.
1 Go to the Filing page and click the Transfer tab.
Several conditions cause the system to automatically save a
2 Connect a portable storage device such as a USB key disk. new Show file in the History tab, as follows:
The device appears above the right column.  In the course of normal work, a new Show file is automati-
3 Do one of the following to select the type of data to synchro- cally saved in the History tab approximately every ten min-
nize: utes. Saves are less frequent when the console is idle.

• To synchronize all data, click the Console icon.  A new Show file is automatically saved just prior to a signif-
• To synchronize Console Settings, click the Settings icon. icant change in the console setup, including:

• To synchronize Show Folders, click the Show Folders icon. • Change of console channel or bus configuration

• To synchronize individual Shows, click the Show icon. • Recall, storage, or modification of a Snapshot

• To synchronize Preset Folders, click the Preset Folders • Loading of Console Settings or a Show
icon.
• To synchronize Presets for individual items, click the Loading an Auto-Saved Show
Built-In icon or the Plug-In icon and choose a processor or
To return the console to an earlier state at any time, you can
plug-in from the pop-up menu.
load any of the auto-saved Show files displayed in the History
4 From the pop-up menus above each column, choose the tab.
folders containing the elements you want to synchronize.

5 Click the Sync All button. The contents of the left and right
To load an auto-saved Show file:
columns are synchronized. 1 Go to the Filing page and click the History tab.

Using the Standalone software on a laptop computer, you 2 In the Show Folders column, click the Show Folder name to
can configure VENUE system routing, set up mixes, create select the folder and display its contents in the Shows column.
Snapshots, and save Shows and Presets. You can then 3 In the Shows column, click the name for the Show you want
transfer your data to a USB disk for use on a VENUE sys- load.
tem. See Chapter 24, “Using the Standalone Software.”

Undoing Changes Using the History

Feature
The VENUE system automatically saves the current state of
the console while you are working, allowing you to quickly re-
turn 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 Loading an auto-saved Show file

4 Click the Load button.

There are two Show Folders in the History tab:
 The Most Recent Changes folder includes all auto-saved Show The VENUE system loads the selected Show file, replacing the
files for a ten-hour period. current system configuration, routing, and control settings
 The Previous Days folder includes only the last auto-saved with those contained in the selected file.
Show file for each day since the console was last cleared.

Show Files in the History Tab

The auto-saved Show files displayed in the History Tab are
named according to the date and time of their creation, and
cannot be renamed.

176 VENUE Profile Guide

Chapter 21: 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 can also include MTC, tempo, and crossfade instructions.

Snapshots are contained and stored as part of a Show. A single Show file can contain up to 999 snapshots. Snapshots are con-
trolled 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. The system also provides a variety of
methods to edit, preview, and manage snapshot data.

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 Snapshot Data Type

Chase MTC Command Scope Current Target Crossfade
button buttons buttons Name controls

Snapshot
Recall
buttons

MIDI/Plug-Ins
list

Snapshots
list

Notes
section

Channel Channel Scope

Scope controls buttons

Tool Tips
and Snapshots
Banner display
Next and Last Recalled
Snapshots display

Figure 17. Sections of the Snapshots page

Chapter 21: Snapshots 177

 To display the Snapshots page, do one of the following: Undo Returns the console to its state before the last snapshot
command.
 Click the Snapshots tab on-screen.
– or – New Creates a new snapshot that captures the current state of
all data types and channels.
 Press the Snapshots switch in the View Modes section.
Duplicate Creates a copy of the selected snapshots.
Repeatedly pressing the Snapshots View Mode button tog-
gles between the Main and Recall Safe tabs. 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.

Main Provides the primary snapshot controls. Snapshot Scope Controls

Recall Safe Provides a matrix of channel parameters that can The selection of data types and channels to be recalled is re-
be globally safed (or isolated) from Recall for all snapshots. ferred to as the scope of a snapshot. The scope of data to be re-
called is also stored within each snapshot.

Snapshots List The Snapshot Data Type buttons and on-screen Channels de-
termine (and display) which data types are recalled for which
Snapshots can be targeted, renamed, recalled, previewed, ed- channels on the console.
ited, locked, reordered, duplicated, searched, and deleted from
the Snapshots list. 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 affect- Not Scoped Gray display indicates that the data type or chan-
ing the current mix. nel is not currently scoped and will not be affected by snap-
shot recall.
Recall Recalls the targeted snapshot, updating the console to
reflect the status of all scoped data types and channels in the
Data Type Scope Buttons
snapshot (subject to the current Recall Safe settings).
The Snapshot Data Type buttons display scope status for the
Store Stores the current state of the console in the targeted
corresponding types of controls on the console. See Table 22
snapshot for all data types and channels, overwriting any ex-
on page 201 for a complete list.
isting data in the snapshot.

Propagate Enables Propagate mode. Lets you apply isolated Data type
changes to one or more snapshots at once (such as updating a currently MIDI and
channel EQ across all snapshots). scoped Plug-Ins
(red)
Edit Enables Edit mode. Lets you adjust parameters freely and
apply those changes to one or more snapshots. Changes can Data type
be applied in Absolute or Relative fashion. not currently Notes
scoped
(gray)
Data Type Scope buttons showing different scope states

178 VENUE Profile Guide

Channel Scope Controls Selected Channel Indication
Channels are included or excluded from snapshots by clicking The Snapshots page indicates the currently selected channel.
them on-screen in the Snapshot Channel Faders display. The  If the selected channel is not scoped in the currently se-
Snapshot faders display the scope status of each channel on lected snapshot, it is indicated with a blue highlight.
the console, along with indication of the fader positions and
mute states that will result by recalling the targeted snapshot.  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 Channels not

currently scoped currently scoped
(red) (gray)
Snapshot channel fader display showing different scope states

Channel Fader Position

Selected channel, not scoped Selected channel, scoped
When you target a snapshot with scoped channels that have (blue outline)
different fader positions from the current fader positions, the Selected channel indication in the Snapshots page
target fader positions are shown in bright red.
Though the currently selected channel is displayed in the
Snapshots page, keep in mind that you cannot target a dif-
ferent channel from this page. The currently selected (tar-
get) 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

All Turns on the scope for all data types at once. This is equiv-
Snapshot channel fader display showing target fader positions alent to clicking all of the Data Type buttons so they are red.
Channel Mute State
None Turns off the scope for all data types at once. This is
When you target a snapshot with scoped channels that have equivalent to clicking all of the Data Type buttons so they are
different mute states from the current mute states, the target gray.
mute buttons are outlined in yellow.
Channel Scope Action Buttons
All Turns on the scope for all channels displayed on the cur-
rent tab (such as 1–48). 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 21: Snapshots 179

 Next Snapshot Indication in Status Display Next Instantly recalls the snapshot immediately following the
most recently recalled snapshot. This switch mirrors the Recall
The Snapshot Status display shows the currently targeted Next button in the Snapshots page.
(next) snapshot in red text directly above the display of the
last (most recently recalled) snapshot. Pressing the Snapshot The Previous and Next switches combine target and recall
Recall button immediately recalls the targeted snapshot and actions in one step, causing the next or previous snapshot to
makes it the last recalled snapshot. be instantly active. These switches cannot be used to pre-
view snapshots before recalling them.
Next snapshot (red)
Most recently recalled F1 for Preview Mode
snapshot (green)
When the Mute Groups/Function section is in Function
Next and Last Recalled snapshot display in the Status area mode, pressing F1 engages Preview mode (see “Preview Mode”
on page 191).

For more information on how to use the Event List to cus-

Snapshot Controls on the Console tomize this or other console functions, see Chapter 22,
Snapshot controls are provided in the Snapshots section. “Events.”
These controls provide direct access to a few basic snapshot
commands and allow manual control of snapshot recall.
Snapshots List
Snapshots Section
You can target (select), store, and recall snapshots from the
Snapshots controls in this section.

Select
Display and Encoder

Store Recall
Previous Next

Preview
Snapshots section on the console
Snapshots list
The Snapshot controls in the Snapshots section perform the
following functions:
Snapshot Entries
Each entry in the Snapshots List has a number (001–999) and
Store Stores the current state of all console parameters in the
name. To the right of each number and name are icons for the
targeted snapshot. This switch mirrors the Store button in the
currently displayed snapshot attributes. The Snapshot List lets
Snapshots page.
you configure, display and control the following attributes for
Recall Recalls the targeted snapshot. This switch mirrors the each snapshot:
Recall button in the Snapshots page. • If either the MIDI Read or Generate feature is enabled,
each snapshot will also have a time code value, trigger in-
Select Display and Encoder Turning the Select encoder scrolls
dicator, or send indicator. (See “Adding MIDI Messages to
through and selects the targeted snapshot in the Snapshots
Snapshots” on page 195.)
list. The 6-character display shows the name of the currently
• If the System Tempo has been enabled in Options > Misc,
targeted snapshot. A period is appended to the displayed snap-
Tempo can be stored for each snapshot instead of MIDI
shot name to indicate whenever it has been edited since being
(both MIDI and Tempo are available parameters at all
recalled.
times; the only limitation is that the Snapshots List can
Previous Instantly recalls the snapshot prior to the most re- only display one or the other at a time). When the Snap-
cently recalled snapshot. This switch mirrors the Recall Previ- shot List is configured to show Tempo, each list item will
ous button in the Snapshots page. 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.)

180 VENUE Profile Guide

 • If the system includes a Pro Tools record/playback op-
Snapshot Function Keyboard Shortcut
tion, snapshots can be configured to create a Marker in
the Pro Tools recording whenever that snapshot is re- Recall Targeted Snapshot Ctrl+R
called. (See “Pro Tools Markers and Snapshots” on
Store Targeted Snapshot Ctrl+S
page 196.)
• Each snapshot provides a Lock icon that toggles the snap- Undo Ctrl+U
shot between Locked (write-protected) and Unlocked. Add or update MIDI/Plug-in data to Right-click MIDI/Plug-ins
See “Locking Snapshots” on page 188. snapshot entry

Recall Buttons Selecting Snapshots

The Recall Previous (–) and Recall Next (+) buttons at the top You can select single snapshots or multiple snapshots in order
of the Snapshots List cause the previous or next snapshot to be to target, recall, duplicate, edit, lock or delete them in the
targeted and recalled in one step. snapshots list.

Chase MTC To select multiple contiguous snapshots:

Enables or suspends automated recall of snapshots when ei-  Shift-click the snapshot names in the Snapshots list.
ther the MTC Read or MTC Generate option is enabled.
To clear a selection of multiple contiguous snapshots:

Navigating the Snapshots List  Click any snapshot name in the Snapshots list.
– or –
Snapshots are highlighted in color in the Snapshots list to in-
dicate the following:  Turn the Select knob in the Snapshots section.

Green Indicates the last recalled snapshot

To select or de-select non-contiguous snapshots:
Red Indicates the currently targeted snapshot  Ctrl-click the snapshot names in the Snapshots list.

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 snap-
shot. Recalled and Targeted snapshots can also be part of a
multiple selection in the list. In this case, the sequence num-
ber is blue while the rest of the name is red, green or yellow.

Multiple items selected in the Snapshots list

Snapshot Keyboard Shortcuts
Snapshot Type Text Search
When the Snapshots page is displayed, you can perform the
following Snapshot functions with these keyboard shortcuts: Type Text search lets you use the keyboard for fast navigation
of the Snapshots List.
Snapshot Function Keyboard Shortcut

Target Next/Previous Snapshot Up/Down Arrow keys

To search for and target a snapshot:
1 Go to the Snapshots page.
Target First Snapshot in List Home key
2 Do one of the following:
Target Last Snapshot in List End key
• Type the number of the snapshot.
Target Snapshot at Top of Page Page Up
– or –
Target Snapshot at Bottom of Page Page Down • Type the first letters of the snapshot name.
Select Multiple Contiguous Snapshots Shift-click snapshots 3 Press the Tab key to cycle through any snapshots that start

Select Multiple Non-Contiguous Snap- Ctrl-click snapshots with the same letter.
shots/Deselect any Snapshot

Select All Snapshots Ctrl+A

Create New Snapshot Ctrl+N

Chapter 21: Snapshots 181

 Centering the Snapshot List
Creating Snapshots
The Options > Snapshots page provides a preference setting to
always center the Snapshot list on the last recalled snapshot. Snapshots can be created at any time to store the current
This setting lets you always view the snapshots immediately channel and parameter settings. You can create new snap-
above and below (prior to and following) the last recalled shots manually in the Snapshots page (see “Creating New
snapshot. This setting only affects the scroll position of items Snapshots” on page 182), or by duplicating existing snapshots
in the Snapshot list. 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 re-
call only those controls that need to change between sec-
tions or songs, leaving other controls unaffected by snap-
shot recall.

Creating New Snapshots

When you create a snapshot, it captures the current state of all
console settings.

Snapshot list with Center Last Recalled Snapshot enabled To create a new snapshot:
To center the Snapshot List on the last recalled snapshot: 1 Set all parameters on the console whose state you want to
1 Go to the Options > Snapshots page. store in the snapshot.

2 In the Snapshots General Preferences section, click to select 2 Click New. The new snapshot appears in the Snapshots List.
the Center Last Recalled Snapshot setting. 3 For each channel you want affected when the snapshot is
later recalled, click the channel so that it is scoped (displayed
in red).

Click to select-/de-select bank

Adding channels to the scope of a snapshot

To quickly select (or de-select) banks of channels, click their

blue labels below the Channel Faders in the Snapshots
page.

182 VENUE Profile Guide

4 For each parameter of the scoped channels you want af-
fected when the snapshot is later recalled, click the corre- Recalling Snapshots
sponding Data Type button so that it is scoped (displayed in
red). 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 chan-
nels 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.

To target a snapshot, do any of the following:

Plug-ins included in the scope of a snapshot  Click the snapshot name in the Snapshot list.

 Type the number or name of the snapshot on the keyboard.

When you create a new snapshot it automatically inherits
the channel and data type scope of the currently targeted  Press the Home/End, Page Up/Page Down, and Up/Down
snapshot. Arrow keys to navigate the Snapshot list.

 Turn the Select knob in the ACS to scroll through the Snap-
The New command can be undone. shot list. Snapshot names appear in the display above the Se-
lect knob.

Naming Snapshots The current target snapshot is highlighted in red in the Snap-
New snapshots are automatically numbered and appear as shots list, and shown in red in the Status display.
“<Untitled>” in the Snapshots list. Snapshots can be renamed
at any time. You can undo snapshot naming operations. Recalling Snapshots
To name a snapshot: You can do the following when recalling snapshots:
• Target and instantly recall successive snapshots (next or
1 Do one of the following:
previous)
• Double-click the snapshot name in the Snapshots list or
• Target first, then recall one or more snapshots
the current target name display.
• Select multiple snapshots and recall them all sequentially
– or –
• Target snapshots, change Data Type or Channel Scope
• Right-click the snapshot name and choose Rename. settings, then recall.
2 Type a name for the snapshot.
Undoing snapshot recall commands might cause audio to
3 Press Enter on the keyboard or click another snapshot name. be interrupted. Use Undo with caution in performance.

Recalling Successive Snapshots Instantly

Adding Notes to Snapshots
You can instantly recall successive snapshots in the Snapshots
You can add notes to snapshots at any time. You do not need
list. This command references the previously recalled snap-
to store the snapshot to save the notes in the snapshot.
shot, not the last targeted snapshot.

To add or edit comments for a snapshot:

To instantly recall successive snapshots, do one of the following:
1 Double-click the Notes header or click the list icon to ex-
 On the console, press the Previous or Next switch in the
pand the Notes field.
Snapshots section.
2 Double-click in the Notes field and enter text.
– or –

 On-screen, click the Recall Previous (–) or Recall Next (+) but-
ton at the top of the Snapshots list.

Chapter 21: Snapshots 183

 The Snapshot Recall buttons combine target and recall Recall Safe and Channel Automation
actions in one step, causing the previous or next snapshot to Safe
be instantly active. These buttons cannot be used to
preview snapshots before recalling them. The Recall Safe tab in the Snapshots page provides global au-
tomation safe settings of nearly every section of the console.
Targeting Before Recalling Snapshots
You can also place individual channels in automation safe
To target and then recall a snapshot: from the console or on-screen. For more information, see “Au-
tomation Safing Channels” on page 187.
1 Target the snapshot you want to recall by clicking the snap-
shot name in the Snapshot list, or turning the Select knob in
the Snapshots section. Recall Safe
2 (Optional) Set the scope of the snapshot by doing the fol- Recall Safe lets you select which parameters on which chan-
lowing: nels you want to be ‘safed’ from snapshots.
• For each channel you want to recall in the snapshot, click Recall Safe is global to all snapshots, can be turned on or off
the channel so that it is scoped (displayed in red). quickly, and provides preset capabilities in the form of Scope
• For each parameter of the scoped channels you want to Sets. Scope Sets can be loaded and saved just like Presets for
recall in the snapshot, click the corresponding Data Type built-in EQ, Dynamics, and plug-in settings. Current Recall
button so that it is scoped (displayed in red). Safe settings are stored with the Show file.
• Configure the Recall Safe page to further filter snapshot
data on recall. (See “Recall Safe and Channel Automation Recall Safe Tab
Safe” on page 184.)
The Recall Safe tab opens the Recall Safe page on-screen. The
3 Click the Recall button on-screen, or press the Recall switch Recall Safe tab is red when Recall Safe is on and in effect, and
in the Snapshots section. gray when Recall Safe is off or when nothing is safed.

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 22, “Events.”
Indication of active Recall Safe from the main Snapshots page
Selecting and Recalling Multiple Snapshots
Recall Safe Displays and Controls
You can select and recall multiple snapshots to load them all
in sequence, and in one step. This is useful to quickly reset the Master On/Off Global safe
console to a sub-cue or other specific point within a longer Channel for MIDI Scope Sets
Recall Safe tab
tabs and plug-ins
scene or cue and “pick up from there.”

To recall multiple snapshots:

1 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.

2 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.

Snapshot List, Channel

Type Parameter matrix
Recall, and Store
tabs
Displays and controls in the Recall Safe page

184 VENUE Profile Guide

On Parameter Matrix

The master On button toggles the entire Recall Safe feature on The parameter matrix is a scrollable grid in which you can safe
or off globally. When lit (blue), Recall Safe is active. When parameters and channels. You can undo and redo parameter
dark, Recall Safe is suspended. matrix operations.

Snapshot List, Recall and Store Parameters

The Snapshot List and its Recall and Store functions remain
visible and available from the Recall Safe page at all times.

Channel Tabs Channel Safe

The Inputs and Outputs tabs at the top of the parameter ma-
trix 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. Channels

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 out-

Channel grid icons Parameter grid icons
put and/or plug-in changes. They are considered separate
from the parameter matrix and do not follow the Recall Safe Parameter matrix for Recall Safe
master On (or Off) status.
Parameters are represented in the columns of the parameter
Scope Sets matrix; channels are listed along the left side in rows.

Scope Sets are presets for the Recall Safe page that can be Clicking in the grid enables safe status for that parameter on
stored and loaded, just like plug-in, EQ and Dynamics presets. that channel. Parameter and Channel grid icons provide
Scope sets can be used as a template when creating new shows, shortcuts to “safe all” parameters in a single-click, and to safe
or used to change Recall Safe settings during a performance. entire channels. Clicking these icons lets you quickly toggle
Like other presets and settings files, Scope Sets can be trans- recall safe status for entire columns and rows. You can also use
ferred from the Filing page, making it easy to maintain and the master grid icon located in the upper left most corner to
transfer Recall Safe configurations. For more information, see toggle the entire grid.
“Using Scope Sets” on page 187.

Grid master icon None Some All

CHANNEL SAFE

Display states for grid icons in Recall Safe

Chapter 21: Snapshots 185

 The display state of the Parameter and Channel grid icons in- To safe individual parameters or channels:
dicate safe status for that column or row as follows:
1 Place the cursor above the grid, above a parameter or chan-

None A dark Parameter or Channel grid icon indicates that no nel name, or above any Channel Safe button. To be sure the
items in that column or row are safe enabled. cursor is above a valid area, you should be able to see at least
one parameter name or channel name highlight.
Some A dark triangle inside a lit blue circle indicates that at
2 Use the Arrow keys of the computer keyboard to move the
least one item in that column or row is safe enabled.
cursor right, left, up, or down to other grid points. (You can-
All A lit (white) triangle indicates that all items in that column not navigate to parameter or channel grid icons, or to the
or row are safe enabled. Channel Safe column.)

3 Press Enter to enable or disable safe status for the currently

Channel Safe Controls
focused grid point. Continue navigating to and toggling safe
The CHANNEL SAFE column acts as a global “all channel” set- status of other parameters and channels.
ting or override, mirroring the SAFE switch on the console and
on-screen (when in Input Safe Switches act as Automation To safe a parameter across all currently displayed channel types:
Safes mode).  Click the Parameter grid icon at the top of the appropriate
column until the triangle is white.
Controls in the CHANNEL SAFE column are not part of the pa-
rameter matrix; they function in addition to the parameter ma-
trix. As a result, you do not need to enable any CHANNEL To safe all parameters for a particular channel:
SAFE settings to use the Recall Safe parameter matrix.  Click the Channel grid icon in the ALL column for that chan-
nel (row).
For more information, see “Automation Safing Channels”
on page 187. To toggle the status of a parameter column or channel row:

Using Recall Safe  Click the appropriate Parameter or Channel grid icon repeat-
edly until it displays the desired status. For more information,
To access the Recall Safe page: see “Parameter Matrix” on page 185.

1 Do one of the following:

To safe all parameters across all channels and clear any current
• Go to the Snapshots page and click the Recall Safe tab. settings:
– or –  Click the triangular icon at the top of the ALL column.
• Double-press the Snapshot View switch until the Recall
Safe tab is displayed. You can undo or redo the last action taken in the parameter
matrix.
2 Click a channel type tab to display the desired channels.
CHANNEL SAFE
To safe individual parameters on specific channels:
To automation safe an individual channel and retain all recall safe
 Click in the grid at the intersection of the appropriate pa-
settings for that channel:
rameter (column) and channel (row). A blue dot appears, in-
dicating a parameter is safed.  Click in the CHANNEL SAFE column for the desired channels.

CHANNEL SAFE does not need to be lit in order to Recall

Click Safe individual parameters for that channel.

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 Chan-
nel Safe column.

The CHANNEL SAFE column mirrors the channel automa-

tion Safe controls. For more information, see “Automation
Safing Channels” on page 187.
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.

186 VENUE Profile Guide

MIDI 3 Do any of the following:
• To preview an existing Scope Set, click its name in the
To enable Recall Safe for MIDI Snapshot output: Scope Sets window.
 Click the MIDI Snapshot Output Safe button, located above • To load the currently selected Scope Set, press Enter or
the parameter matrix. click the Close box (X) in the Scope Sets window title bar.
• To cancel without changing Recall Safe settings, click
For more information, see “Adding MIDI Messages to Snap-
Cancel.
shots” on page 195.

Plug-Ins Scope Sets

Folder selector
To enable Recall Safe for plug-ins:
 Click the Plug-In Snapshot Safe button, located above the pa-
rameter matrix.

For more information, see “Adding Plug-In Data to Snap-

shots” on page 197.

Matrix and PQ

Snapshots can store and recall all source assignments of each

Matrix and PQ mixer when the Matrix (Mtx) and/or PQ data
types is scoped. In addition, all User Input assignments are
stored, letting you reconfigure Matrix or PQ mixers and User
Input assignments on a per snapshot basis, if desired. Scope Sets window

The Recall Safe tab of the Snapshots page provides three pa- See Chapter 20, “Shows and File Management” for com-
rameters for Matrix and PQ snapshot recall safe: plete information on transferring system data.
MIX Safes both Source and User assignments.
Automation Safing Channels
MIX SRC Safes only source inputs.
Input Safe switches (both console and on-screen) can be set to
MIX USER Safes only user input assignments. Automation, Solo, or Bank Safe modes. When set to act as Au-
tomation Safes, the Input Safe Switches let you suspend the ef-
For a list of what can be stored and recalled in each snapshot,
fect of snapshots on all parameters of individual Input Chan-
see “Snapshot Data Types and Parameters” on page 201.
nels and FX Returns.

Using Scope Sets You can also control channel automation safe status in the
Recall Safe tab. See “CHANNEL SAFE” on page 186.
Configurations of the Recall Safe page can be stored as Scope
Set settings files. 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:

1 Configure the Recall Safe page as desired.

2 Click the Scope Sets icon (the folder icon located above and
to the right of the parameter matrix).

3 Click New.

To preview and recall a saved Scope Set:

1 From the Recall Safe page, click the Scope Set icon to display On-screen Automation Safe button
the Scope Set window.
To toggle the Safe status of an Input Channel or FX Return
2 If necessary, choose the appropriate Scope Sets folder by directly from the channel strip:
clicking and selecting it from the Folder selector.
1 Go to the Options page and click the Interaction tab.

Chapter 21: Snapshots 187

 2 In the Input Safe Switches section, select the Act as Automa- To lock a snapshot:
tion Safes option.
1 Go to the Main tab of the Snapshots page.
3 Press the Safe switch in the Input section, or click the
2 In the Snapshot list, click the padlock icon at the far right of
on-screen Safe button for each of the Input Channels or FX
the row for any item. The padlock icon illuminates to indicate
Returns you want to safe. The Safe switch lights solid to indi-
the snapshot is now locked.
cate that the channel is automation safed.
Locked/Unlocked indicator
You can use the Event List to be able to cycle through the
various Input Safe Switch modes using a footswitch, func-
tion switch or other available trigger. See Chapter 22,
“Events.”

Managing Snapshots
You can manage snapshots in the list by storing, locking,
clearing, duplicating, deleting, or moving them. Click to lock or unlock

Snapshot lock controls

Storing Snapshots Select multiple snapshots using the Shift key or Multi-Select
switch to lock or unlock multiple snapshots at once.
You can modify the contents of an existing snapshot, over-
writing it with new settings, using the Store command. It is not Once locked, operations that would otherwise affect the snap-
necessary to recall a snapshot to store it. Snapshots can be shot cause the Status display and channel LCDs and Snapshot
stored from on-screen or from the snapshot controls on the LCD to temporarily show a message reminding you that the
console. You can undo Store commands. operation cannot be applied while the snapshot is locked.

To store the current console state in an existing snapshot: To unlock a snapshot:

1 Set all parameters on the console as you want them to be  Click the lit padlock icon in the row for that snapshot.
stored in the snapshot.
You can undo locking or unlocking of a snapshot by clicking
2 Select the snapshot in the on-screen Snapshot list, or turn
the Undo button.
the Select knob in the Snapshots section to target a snapshot
you want to overwrite. Undo and Locked Snapshots
3 Click the Store button on-screen, or press the Store switch in
You can undo locking or unlocking a snapshot. When tog-
the Snapshots section.
gling lock status for a selection of more than one snapshot,
4 Set the scope by doing the following: the entire operation creates a single undo point (it does not
• For each parameter you want to be affected when the track and provide undo for each individual snapshot in the se-
snapshot is recalled, click the corresponding Data Type lection).
button so that it is scoped (displayed in red).
Keep in mind that Undo can revert snapshots to “unlocked”
• For each channel you want affected when the snapshot is status. For example, if you change the scope of an unlocked
recalled, click the channel fader so that it is scoped (dis- snapshot, lock the snapshot and then use Undo, the snap-
played in red). shot is unlocked. Pressing Undo one more time will revert
the snapshot to its original scope.
Locking Snapshots
Locking Snapshots and MIDI Record
Snapshots can be locked to prevent them from being acciden-
When using the MIDI Record feature, all MIDI data captured
tally altered, overwritten or deleted.
up to the point a snapshot is locked is preserved. If the MIDI
Locked snapshots can be selected, recalled, moved and dupli- Record operation is still active at the time the snapshot is
cated. They cannot be overwritten, renamed, rescoped or oth- locked, record mode is exited, the REC button becomes un-
erwise changed. New and duplicated snapshots default to un- available for that snapshot, and subsequent incoming MIDI
locked. Lock status can be changed at any time, including messages are not captured.
while in Preview mode.

188 VENUE Profile Guide

Available Operations with Locked Snapshots Duplicating Snapshots
The following table details which operations can or can not be Snapshots can be duplicated from the Snapshots list. You can
performed on a locked snapshot. undo Duplicate commands.
Summary of allowed/disallowed operations when locked
To duplicate snapshots:
Operation Allowed Disallowed
while while locked 1 Select the snapshots you want to duplicate.
Locked
2 Do one of the following:
Select/target snapshot X • Click Dup (Duplicate).

Recall snapshot X – or –
• Right-click the snapshot name and choose Duplicate.
Duplicate snapshot X

Re-sequence in snapshot list by: A copy of each selected snapshot is placed after the selection,
with a plus sign (+) appended to the original snapshot name.
• Dragging in snapshot list X
If multiple snapshots are selected in the list, the new (dupli-
• Manually editing sequence num- X
ber cate) items are added below their original source snapshots.

• Re-sorting by time code X

Deleting Snapshots
Overwrite (Store to locked snap-
X
shot) Snapshots can be deleted from the Snapshots list. You can
undo Delete commands.
Propagate changes X

Apply Edit mode changes X To delete snapshots:

Clear X 1 Select the snapshots you want to delete.

Delete X 2 Do one of the following:

• Click Del (Delete).
Modify Scope X
– or –
Add/Modify stored MIDI data X
• Right-click the snapshot name and choose Delete.
Add/Modify stored Plug-In data X
The snapshots are removed from the Snapshots list, and suc-
Modify Notes X ceeding snapshots are renumbered.
Modify X-Fade time X

Modify Snapshot Name X

Moving Snapshots
Existing snapshots can be rearranged in the Snapshots list.
Modify Time Code Location X
When you move one or more snapshots, they are automati-
Toggle Time Code Enable X cally renumbered in the list, but MTC values are left un-
changed. You can undo a snapshot move.
Undo changes X

To move a snapshot, do one of the following:

Clearing Snapshots
 Drag the currently selected snapshots to a new location in
The contents of a snapshot can be cleared while keeping the the Snapshots list.
snapshot in the Snapshot list and retaining its MTC informa- – or –
tion. This lets you maintain a placeholder that you can use
later to store new data. You can undo Clear commands.  Double-click the snapshot number in the Snapshots list or
the banner display, type a new number, and press Enter on the
To clear the contents of a snapshot: keyboard.

1 Select the snapshots you want to clear.

2 Click Clear. Cleared snapshots are renamed “<Empty>.”

Chapter 21: Snapshots 189

 Examples of Absolute and Relative Edits
Making Changes to Snapshots
Absolute Changing a fader level from 0 dB to –3 dB and apply-
There may be situations where you need to change specific pa- ing that change as Absolute results in that fader being set iden-
rameters in existing snapshots while leaving other parameters tically to –3 dB in all selected snapshots.
unchanged.
Relative Changing a fader level from 0 to –3 dB and applying
For example, if a guitarist changes instruments in the middle that change as Relative results in that fader being reduced by
of a tour it might be necessary to change levels and EQ on the that amount in all selected snapshots, or 3 dB relative to the
guitar channel in all the snapshots in a show. Snapshots pro- value previously stored in the snapshot(s). For example, a
vides the following modes to accommodate these types of sit- channel previously at –6 dB would be changed to –9 dB.
uations:
Making Relative Changes with Mixed Data Types
Edit Mode Lets you capture individual control changes while
you mix, and apply those changes to one or more pre-existing If a combination of dB and non-dB parameters (such as gain
snapshots as absolute or relative changes. For example, you and EQ frequency) are edited and applied in relative fashion,
could enter Edit mode the first time a guitarist uses a new gui- the dB parameters are adjusted as relative (delta) changes and
tar in rehearsal. When you are satisfied with your settings you the non-dB are applied as absolute changes.
can apply them (in absolute or relative fashion) to update
other snapshots. See “Using Edit Mode” on page 190. To update specific parameters in existing snapshots using Edit
mode:
Propagate Mode Lets you update data in pre-existing snap-
1 Navigate to the main Snapshots page.
shots after you've already made changes and decided you
want to keep them. While Edit mode requires you to know 2 Click the Edit button to enter Edit mode. The Edit button
ahead of time that you will be updating snapshots, Propagate changes into two smaller flashing buttons: Abs, and Rel. The
mode lets you decide to update other snapshots with current system begins tracking all changes while you make them.
settings after making adjustments to your mix. For example, if
its the third consecutive night you’ve reached to increase gain
on the DI channel for a new guitar, you could use Propagate
mode to quickly take the gain increase you just made and ap-
ply it to other snapshots. See “Using Propagate Mode” on
page 191.

Events-driven recall of snapshots is disabled while in Prop-

agate or Edit mode. For more information, see Chapter 22,
“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 Edit mode
controls, and your changes are tracked from the point Edit
mode was entered. 3 Adjust any combination of snapshottable parameters on the
console or on-screen.
The ability to edit a single control in Edit mode provides
4 Select the snapshot(s) to which you want to apply your ed-
more selectivity than Propagate mode.
its.

Absolute and Relative Edits 5 Click either of the flashing buttons Abs (for Absolute) or Rel
(for Relative). You can cancel Edit mode by pressing the Can-
Changes can be applied to one or more selected snapshots as
cel button on the control surface, clicking the Cancel button
absolute or relative values. Any parameter can be edited in ab-
on-screen, or by pressing the ESC key on your computer key-
solute fashion; all dB parameters can be edited in relative fash-
board.
ion.
The selected snapshots are updated according to your changes
and your choice of Absolute or Relative edit.

190 VENUE Profile Guide

Using Propagate Mode
Preview Mode
You can use the Propagate command to capture changes and
apply them to existing snapshots. Propagate mode is most Preview mode lets you recall, store and edit snapshots without
useful when you realize during the course of mixing that you affecting the current mix.
want to capture your current settings to use in other snap-
When enabled, Preview mode takes the console offline from
shots. You can undo Propagate commands.
the live audio mix so you can “work ahead” during a rehearsal,
performance or event to preview upcoming snapshots and
To update specific parameters in existing snapshots: edit them as needed. Any control that can be stored and re-
1 Make sure the channel is set as needed. called by snapshots is available while in Preview mode, and
you can also modify the Snapshot List. Once you are done pre-
2 Click Propagate. The current data and channel scope is
viewing or editing snapshots, you can store your changes to
cleared.
update the existing snapshots with your changes.
3 Set the scope to reflect only those parameters you want to
update by doing the following:
Using Preview Mode
• For each parameter you want to update, click the corre-
sponding Data Type button so that it is scoped (displayed The basic workflow for using Preview mode is as follows:
in red).
1 Make sure your active mix is set as desired, and make sure
– and – the rehearsal, event or performance has an upcoming oppor-
• For each channel you want to update, press its channel tunity for you to go offline.
Select switch on the console, or click the channel
2 Enter Preview mode by clicking the on-screen Preview but-
on-screen so that it is scoped (displayed in red).
ton in the main Snapshots page. The word PREVIEW flashes in
red across the screen for confirmation. (By default, the Func-
tion switch F1 is assigned to Preview mode, but this can be
customized using Events. For more information, see
Chapter 22, “Events.”)

Propagating an EQ change for a channel

4 Select the snapshot or range of snapshots you want to up-

date in the Snapshots list.

5 Click Propagate. The scoped parameters are updated in the

selected snapshots. Preview mode

3 Do any of the following:

Edit the Snapshots List Reorder snapshots in the list, if de-

sired, 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.)

Chapter 21: Snapshots 191

 Recall and Edit an Existing Snapshot Recall a snapshot to pre- Undo and Preview Mode
view its settings and make any adjustments necessary, being
sure to re-store the snapshot before exiting Preview mode. In Preview mode, you can Undo actions applied to the Snap-
Storing a snapshot in Preview mode does not affect previously shot List (such as Recall, Store, New and Duplicate) without af-
stored MIDI or Plug-in data (if any). fecting the online mix.

Edit Channel and Scope Settings Edit any channel settings, pa- Multiple levels of Undo are available.
rameters, or scope associated with the snapshot being pre-
Changing Console Settings in Preview Mode
viewed. The Snapshots page displays the current snapshot
name in italics to indicate that at least one parameter has been The system tracks any changes to console settings or to the
changed, and the Channel Faders show you the previous level Snapshot List while in Preview mode, but only Snapshot List
for each channel in bright red. Scope Data Type buttons and actions create an Undo point. Choosing Undo will undo the
Channel Scope functionality remain live and active at all last action you took while in Preview mode, up to a maximum
times (in other words, changes made to these controls while of 100 levels of Undo. Any changes to console settings made
in Preview mode will remain once Preview mode is exited). after the last Preview action are also undone (the Snapshot
screen is returned to its exact state prior to the action that cre-
Add and Edit MIDI or Plug-In Data To add MIDI or plug-in data
ated the Undo point).
associated with the snapshot, click the Add button in the
MIDI or Plug-Ins snapshot list. With plug-ins this adds the
Changing the Snapshot List in Preview Mode
current online plug-in settings to the snapshot. If you need to
update pre-existing MIDI or plug-in data associated with a Changes made to the Snapshot List are automatically tracked
snapshot, right-click the corresponding entry in the and available for Undo, regardless of whether Preview mode is
MIDI/Plug-ins view of the Snapshots page and choose the Up- enabled or not. This includes any Recall of snapshots triggered
date option (this option will include the plug-in rack position, by incoming MIDI or MTC while in Preview mode.
and the name of the associated snapshot). For more informa-
For example, if a MIDI Snapshot Recall occurs while you are in
tion, see “Plug-Ins and MIDI in Preview Mode” on page 193.
Preview mode, the online mix will be updated with that snap-
shot. 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
Updating snapshot plug-in data can always use the History feature to recover from any unex-
pected results.
4 To undo an action made while in Preview mode, click the
Undo button on-screen. (For more information about Undo in Changing MIDI or Plug-In Data in Preview Mode
Preview mode, see “Making Changes to Snapshots” on
page 190.) Changes made to MIDI and Plug-In data cannot be undone.
For more information, see “Adding MIDI Messages to Snap-
5 To update the currently previewed snapshot but remain in shots” on page 195 and “Adding Plug-In Data to Snapshots”
Preview mode, press or click Store. on page 197.
6 Continue previewing and editing settings as needed (all
Take advantage of Tool Tips in the banner display to con-
snapshot functions are available in preview mode).
firm what action the Undo button will revert. See “Undoing
7 When you are finished and need to exit Preview mode, press Snapshot Commands” on page 194.
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.

192 VENUE Profile Guide

Available and Unavailable Functions in Not Available in Preview Mode
Preview Mode The only controls not available while in Preview mode are
In order to maintain essential mix indicators and controls those controls which are not able to be stored or recalled via
while in Preview mode, not all functions are taken offline. snapshots. In addition, Config mode options are unavailable
in Preview mode.
The following sections detail what is and what is not available
during Preview mode. Unavailable functions include the following:
• Make Stereo, or Split to Mono
Always Active • Move channels

Certain essential mix functions remain live and active at all • Input channel Gain Guess
times, regardless of whether Preview mode is enabled. The fol- • Input channel and FX Return Input Direct switch
lowing vital mix functions continue to affect or be affected by • Input channel Dyn Pre EQ switch
the console and software: • Insert mode (plug-ins cannot be edited)
• Metering (including input, output and dynamics meters, • Enabling or disabling sample rate conversion
clip and bank clip indicators)
• AFL/PFL These functions are neither available for offline access in
Preview mode, nor do they remain active (online) while in
• Dynamics Key Listen
Preview mode. To adjust any of the above settings, you
• Monitoring level, Headphone level and Monitoring bus
must exit Preview mode.
Delay
• Talkback, Osc and 2-Track Config Mode
• Mute Groups (recall only)
Config mode is not available while in Preview mode. Pressing
• Recall Safe the Config switch (or double-clicking the Config/Show mode
• MIDI snapshot Recall, Chase MTC and Disable (Snap- icon on-screen) displays a dialog box in which you can choose
shots) to “Exit Preview” (return to online mix, in Config mode), or
• Snapshot List and Recall Safe (deleting, adding, or editing “OK” (remain in Preview mode).
snapshots are/will be reflected online and affect the mix)
The system automatically switches to Show mode if Config
• History (auto-save)
mode is active at the time Preview mode is entered.

Recall Safe in Preview Mode

Plug-Ins and MIDI in Preview Mode
The Recall Safe settings are global, and are applied to filter
In Preview mode, plug-ins and MIDI operate in a similar way
snapshot data regardless of the current operating mode. For
as when using the standalone software.
details on Recall Safe and other automation safe features, see
“Recall Safe and Channel Automation Safe” on page 184.
Plug-Ins in Preview Mode

Available and Editable in Preview Mode Recalling a snapshot that contains plug-in data affects the of-
fline (Preview) routing and bypass state of the plug-in only;
Almost all system functions, such as selecting channels and
the online plug-in parameter settings are not recalled, and the
banking faders, are available in Preview mode.
online mix is not affected.
Only those controls that can be stored and recalled via The following plug-in functions are available offline in Pre-
snapshots are available for offline previewing and editing. view mode:
• Plug-in routing can be changed
• Plug-in rack view can be changed
• Plug-ins can be added to a snapshot to capture its current
online parameter settings and (Preview mode) routing

The following plug-in functions are not available while in Pre-

view 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

Chapter 21: Snapshots 193

 You must explicitly add or update plug-in (or MIDI) data to  If the Undo button is highlighted, you can place the cursor
update snapshots, whether or not Preview mode is enabled. over the button to display text in the status bar describing
You can do this from the main Snapshot page, or from the what snapshot actions will be undone.
plug-in racks.  If the Undo button is dimmed, Undo is not available.

Place cursor
over Undo

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 Tool Tip
snapshots are not sent out when a snapshot is recalled in Pre-
Using Tool Tips to verify the effect of Undo in the Snapshots page
view mode. For more information, see “Adding MIDI Mes-
sages to Snapshots” on page 195 and “Adding Plug-In Data to To undo a snapshot command:
Snapshots” on page 197.
 Click the Undo button in the Snapshot commands section.
MTC and Other Online Event Triggers

While in Preview mode, triggers that occur in the online state

of the console are executed, including MTC-driven recall of
Disabling Snapshots
snapshots. Triggers caused by changes to the offline (Preview) You can temporarily disable the storage and recall of all snap-
controls are ignored and do not cause events to occur. For shots. While snapshots are globally disabled, you can target
more information, see Chapter 22, “Events.” snapshots in the Snapshots List to preview their properties,
but you cannot recall them.

Undoing Snapshot Commands To disable all snapshots:

 Click the Disable button in the Snapshot commands sec-
The Undo function returns the console to the state immedi-
tion.
ately before the last snapshot command. Undo is multi-level
(up to 100), is available while in Preview mode and after per-
Suspend MTC Recall
forming an Edit or Propagate mode action.
To disable MTC Recall of individual snapshots in the list:
Undoing snapshot recall commands may cause audio
to be interrupted. Use Undo with caution in perfor- 1 Click the green Enable icon in the row for the desired snap-
mance. shot so that it is unlit.

2 Click the Disable/Enable icon again to re-enable the snap-

shot.

You can similarly suspend Tempo on a per snapshot basis (see

“Adding Tempo Data to Snapshots” on page 196).

194 VENUE Profile Guide

 3 Click Add and choose a message from the pop-up menu.
Adding MIDI Messages to Snapshots
No MIDI message data is captured when a snapshot is first cre-
ated. 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 A MIDI plug icon appears in the Snapshots List for each snap-
• Program Change shot that contains MIDI messages.
• Channel Pressure
• Pitch Bend To record incoming MIDI data to a snapshot.

• MIDI Machine Control Stop 1 Click REC.

• MIDI Machine Control Play 2 Send a supported MIDI command.

• MIDI Machine Control Fast Forward
3 Click REC again when done.
• MIDI Machine Control Rewind
• MIDI Machine Control Eject To edit a MIDI message in the MIDI list:
• MIDI Machine Control Chase
1 Double-click the message text to display the pop-up menu
• MIDI Machine Control Pause bar for the message.
• 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

2 Choose the message name and send channel or device ID

from the pop-up menus.

3 Enter the message values in the text fields or drag up or

down across the text field to change the values.

4 Click in the MIDI list area to dismiss the pop-up menu bar.
Snapshots List showing snapshot containing MIDI messages
To remove a MIDI message from a snapshot:
To add a MIDI message to a snapshot:
 Right-click the MIDI message in the MIDI list and choose
1 Target the snapshot you want to modify.
Delete.
2 Double-click the word MIDI in the MIDI/Plug-Ins list header to
expand the MIDI list.
Viewing MIDI Messages in Hexadecimal
Format
You can toggle the view of MIDI messages in the MIDI list be-
tween 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 21: Snapshots 195

 Safing MIDI Message Output • From the keyboard, type a new tempo value.
– or –
You can temporarily disable output of embedded MIDI mes-
sages so that they are not sent when a snapshot is recalled, • Press the Up and Down Arrow keys to increase and de-
even when the MIDI data type is scoped. crease the selected value.

2 Press Enter or click another snapshot Tempo value to con-

MIDI output is automatically suspended while in Preview
firm the entry.
mode.

To safe MIDI message output on-screen: To assign the current System Tempo to a snapshot:

1 Go to the Snapshots page and click the Recall Safe tab. 1 Make sure Tempo is shown in the Snapshots List.

2 Click the MIDI global output Safe button above the param- 2 Right-click and choose the Set Tempo to option, which will
eter matrix so that it is lit. display the current System Tempo.

The System Tempo is set in the Options > Misc page. For de-
tails on configuring the system tempo and using it to synchro-
Adding Tempo Data to Snapshots nize plug-ins, see “Tap Tempo for Plug-ins” on page 213.

The Snapshots List can be toggled to display Tempo, along

To toggle tempo on/off for each snapshot:
with a Tempo On/Off indicator for each snapshot entry.
1 Make sure Tempo is shown in the Snapshots List (if not,
right-click any item in the list and choose Show Tempo).

2 Click the Tempo icon so that it is lit (enabled) or unlit (dis-

abled).
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.
Snapshots List showing tempo
Displaying Tempo in the Snapshots List
For more information on enabling Events for Tap Tempo, see
To show Tempo in the Snapshots List: “Tap Tempo for Plug-ins” on page 213.

 Right-click anywhere in the Snapshots List and choose Show

Tempo.
Pro Tools Markers and Snapshots
Tempo is displayed in BPM (beats per minute) or milliseconds,
as set in the Options > Misc page. On systems with VENUE Link enabled, snapshots can be con-
figured to create a marker (Memory Location) in the Pro Tools
To change the units for Tempo display: timeline when that snapshot is recalled. Marker status can be
shown in the Snapshot List for all snapshots, and toggled
1 Go to the Options > Misc page.
on/off.
2 In the Tap Tempo section, click to select BPM or ms.
For complete information on this and other VENUE Link fea-
tures, see the Live Recording Guide.
Assigning and Enabling a Tempo
Each snapshot can store a custom tempo value. You can man-
ually enter a custom tempo, or use a shortcut to assign the cur-
rent System Tempo.

You can use the Tempo Enable icon to enable or disable tempo
recall when the associated snapshot is recalled.

To assign a Tempo value to a snapshot manually:

1 In the Snapshots List, double-click the Tempo value you
want to change, then do one of the following:

196 VENUE Profile Guide

 Adding Plug-Ins to Snapshots
Adding Plug-In Data to Snapshots
No Plug-In data is captured when a snapshot is first created. To add a plug-in to one or more snapshots from the Snapshots
page:
Plug-In data is added to existing snapshots from the Plug-Ins
list or from the Plug-In rack. 1 Select an individual snapshot, or create a multi-selection of
snapshots in the Snapshots list.
When the Plug-In data type is scoped for a snapshot, plug-in
routing, in/out state, and settings are recalled with the snap- 2 Display the Plug-Ins List (see “Plug-Ins List” on page 197).

shot. (Adding or changing plug-in side-chain routing is not 3 Click the ADD button within the Snapshot Plug-Ins list and
supported in snapshots.) select a plug-in (or All Plug-Ins) from the menu.

The Snapshots Plug-Ins list lets you select multiple plug-ins

To add a plug-in to multiple snapshots from the Plug-Ins page:
and add, remove and update them simultaneously across one
or multiple snapshots. Multiple snapshots can be selected, 1 Create a multi-selection of snapshots on the Snapshots page
and others can be added to or removed from the selection, at
2 Go to the Plug-Ins page.
any time prior to adding, removing, or updating plug-ins and
snapshots. 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
Plug-Ins List
all other snapshots within the multi-selection.

To view plug-in data for snapshots in the MIDI/Plug-Ins list:

1 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 ex-

pand the Plug-In list.
Using the Snapshots pop-up menu in the plug-in rack (Plug-Ins page)

Snapshots within the multi-selection that already contained

the plug-in being added are unaffected and preserve any pre-
viously 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

Expanded Plug-In list snapshots in the Snapshots List.

It is also possible to select multiple plug-ins in the Snapshots 2 Click the Snapshots Plug-Ins icon to show the Snapshots
Plug-Ins list and remove or update these plug-ins across mul- Plug-Ins list.
tiple snapshots using Right-click commands. Selections can be 3 Right-click a plug-in within the plug-in list of the currently
contiguous or non-contiguous plug-ins in the list. This lets targeted snapshot and choose Remove This Plug-In From Se-
you more easily manage all plug-ins inserted on a single chan- lected Snapshots.
nel, for example.
To remove a plug-in from multiple snapshots from the Plug-Ins
page:
1 Create a multi-selection of snapshots on the Snapshots page

2 Go to the Plug-Ins page.

3 Click the Snapshot menu for the plug-in to be removed and

choose Remove This Plug-In From Selected Snapshots.

The selected plug-in is removed from the currently targeted

Managing multiple plug-ins across multiple snapshots snapshot, as well as all other snapshots within the multi-selec-
tion. Only snapshots within the multi-selection that contain
the selected plug-in are affected.

Chapter 21: Snapshots 197

 Updating a Plug-In Across Multiple
Snapshots Snapshot Options
The Options > Snapshots page provides Snapshot General
To update a plug-in across snapshots from the Snapshots page: Preference settings for centering the snapshot list, and for op-
1 Select an individual snapshot, or create a multi-selection of timizing crossfades between snapshots.
snapshots on the Snapshots page.
The next section explains how to utilize snapshot crossfade.
2 Select a plug-in within the plug-in list of the currently tar- (For information on the Center Last Recalled Snapshot prefer-
geted snapshot. ence, see “Centering the Snapshot List” on page 182.)
3 Right-click and choose Update Plug-In In Selected Snapshots.
Snapshot Crossfades
All snapshots provide a Crossfade setting that determines how
long scoped faders will crossfade to the stored values in that
snapshot when it is recalled. The Options > Snapshots page
provides Snapshot General Preference settings for optimizing
crossfades between snapshots.

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:
Snapshot preferences in the Options > Snapshots screen
1 Create a multi-selection of snapshots on the Snapshots page
Default Time Defines a Crossfade time to apply to all new
2 Go to the Plug-Ins page. All plug-ins that are associated with
snapshots.
any of the currently selected snapshots are identifiable by
their red Snapshot menu. Pan, Balance & Width Enables pan, balance and width on
scoped channels to crossfade.
3 Click the Snapshots menu for the plug-in to be updated and
choose Update This Plug-In In Selected Snapshots. Faders can be crossfaded on all channel types. Pan, balance,
and width can crossfade on input channels, FX Returns,
The selected plug-in is updated within the currently targeted
Groups, and PQ outputs. In order to crossfade, the desired
snapshot, as well as all other snapshots within the multi-selec-
channels must be scoped, and both Fader and Pan data types
tion. Snapshots within the multi-selection that do not already
must also be scoped.
contain the plug-in being added are unaffected.

To configure snapshot crossfade:

Editing Plug-Ins 1 Go to the Options page and click the Snapshots tab.
The Snapshot page provides two ways to quickly navigate to a
2 In the Snapshot General Preferences section, enter a
plug-in in order to edit its routing assignment or parameters.
non-zero value for Default Crossfade Time. Maximum cross-
fade time is 99.9 seconds.
To edit a plug-in associated with a snapshot:
3 To have pan parameters follow the snapshot crossfade time,
 Double-click the item in the Snapshot Plug-Ins list. Or,
click to enable the Pan, Balance & Width setting. (See “Pan, Bal-
right-click a plug-in in the Snapshots Plug-Ins list and choose
ance and Width Crossfade Reference” on page 200.)
Edit Plug-In.
4 Go to the Snapshots page and make sure to scope the desired
channels by clicking to select them in the fader display.

5 Click to scope Fader and/or Pan as needed in the appropriate

snapshots. (For a listing of parameters by data type, see “Pan,
Balance and Width Crossfade Reference” on page 200.)

198 VENUE Profile Guide

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 dur-
ing the crossfade.

MTC

The snapshot crossfade is not bypassed if a MTC trigger recall-

ing the same snapshot occurs during the crossfade.

Multiple Simultaneous Crossfades

The crossfade can be bypassed for the most recently recalled

snapshot only.

Preview Mode

If you enter Preview mode in between Recall commands, the

offline (Preview mode) crossfade will be bypassed; the online
crossfade will not.

Chapter 21: Snapshots 199

 Pan, Balance and Width Crossfade Reference

Pan, Balance and Width Crossfade Parameter Reference

Pan Balance Width

Inputs† Input Mono X

Channel
Stereo X X

FX Return Stereo X X

Output Aux Mono/Stereo-linked

Mas-
ters†† PQ X

Matrix Mono/Stereo-linked

Groups Mono X

Stereo X X

Variable Groups Mono/Stereo-linked X

† Crossfade does not apply to Pan for channel Aux sends.

†† Crossfade does not apply to Pan for input sources within the Matrix or PQ mixer.

Pre Settings Classifying Aux Sends

Snapshots can be used to recall the preamplifier settings on in- You can classify Aux Sends as monitor sends (“Mon”) or as ef-
puts for all scoped Input Channels. You can set any of the fol- fects sends (“FX”), which lets you scope each type separately
lowing Pre parameters to be recalled by the Pre data type but- from the Snapshots page.
ton: Gain, Pad and Phase/polarity, +48V (Phantom Power),
HPF corner frequency and in/out state. This option is only a means of organizing Aux Sends for
snapshot control, and does not directly affect Aux bus
To set the Pre parameters recalled by the Pre Data Type button: operation.

1 Go to the Options page and click the Snapshot tab. To classify Aux Sends for snapshot scope:
2 Under Pre, select the options you want to include. Selected 1 Go to the Options page and click the Snapshots tab.
items will be affected when the Pre data type is included in the
2 For each Aux Send bus or bus pair, click the Aux Mon or
scope of a snapshot.
Aux FX buttons to classify it as a monitor send or effects send,
respectively.

Classifying Aux Sends

Setting Pre parameters Aux Pre/Post State

Select this option to include the pickoff point pre-fader or

post-fader state of each Aux Send in snapshots.

200 VENUE Profile Guide

Snapshot Data Types and Parameters
Table 22. Snapshot data types and parameters included in each data type

Snapshot Data Type Included Parameters (for Each Scoped Channel Strip)

Fader Main volume level

Mute Mute state

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

(For details, see “Pan, Balance and Width Crossfade Reference” on page 200.)

Bus Group bus assignments, group bus mono/stereo-linked state (if mono groups) or dual-mono/true stereo state (if
stereo groups), L–R bus assignment and C/M bus assignments for input strips and groups

In Input routing for Input Channels and FX Returns

Out Main out assignments; direct out assignments, level, in-circuit state, & tap-off point (excluding VCAs)

H/W Hardware insert routing and in-circuit state (excluding VCAs)

VCA VCA membership

Pre Gain, pad, phase, phantom power, HPF corner frequency & in-circuit state

Name Name for each strip

MTX Mixer Input Sources, User Input Assignments, and pickoffs; Mixer Input level, Mixer Input on/off and Mixer Input
Link state

PQ Mixer Input Sources, User Input Assignment, and pickoffs; Mixer Input level, pan, and on/off state, Mixer input Link
state, LImiter threshold and LImiter in/out

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

Chapter 21: Snapshots 201

Chapter 22: Events

This chapter introduces the Events window, and explains how Terminology
to use the Event List.
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 relation-
Introduction ship between one or more console functions (triggers) and
their results (actions).
An event consists of one or more triggers, which are configured
to cause one or more actions to occur. Trigger A conditional check used to fire an event.
Events can be very simple, such as a Footswitch input trigger- Action A console function, mode or other response resulting
ing a Recall Next Snapshot command. This is an example of a from an event being triggered.
single trigger (a footswitch input) causing a single action (Recall
Next Snapshot). GPI General Purpose Interface, also commonly known as a
logic interface.
Events can also be quite complex and involve multiple triggers
and actions. For example, a single event can be defined so that Open GPI input or GPI output is floating, or at its reference
moving a specific fader above and/or below a certain level voltage.
sends a General Purpose output, recalls a specific snapshot and
Closed GPI input or GPI output is closed.
mutes one or more channels. Multiple triggers can be consid-
ered conditionally using the available logic operators AND, Footswitch Footswitch ports are functionally identical to GPI
OR, and XOR. inputs and share all of the same properties and behaviors.
The Event List is easy to configure, and many preconfigured
events are provided for Tap Tempo, snapshot Preview mode Important Information about Snapshots and Events
and other functions.
Because Events can trigger snapshot recalls, and because snap-
shot recalls can trigger other events, it is possible to create
For more information on the default events and other exam-
logic “feedback loops.” For more information, see “Avoid
ples, see “Default Settings, Templates and Examples” on
Feedback Loops” on page 211.
page 212.

Chapter 22: Events 203

 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 GPI Status Display

Display

Figure 18. 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
Event List. The list can be scrolled vertically when necessary.
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. Event Number Each event has an associated three digit se-
Each event can have between 0 and 8 triggers, and each event quence number, 001 through 999. Events are automatically
can have between 0 and 8 actions. re-numbered if items are moved, added or removed.

Event number Enable Event List

Event Name Events can be given custom names, up to a maxi-
Event name Status commands mum length of 31 characters.

Event Enable Icon Events can be enabled or disabled individu-

Events
ally by clicking the green Enable indicator to toggle its status.
in the list 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 210.

Event List Commands You can test, reset, create, duplicate,

clear or delete events in the list. These commands can be per-
formed using the on-screen buttons or by right-clicking on list
items. Multiple events can be selected to test, reset, duplicate,
Event List items, commands and displays
clear or delete them, but only one new event can be created at
one time.

204 VENUE Profile Guide

Triggers Actions
The Triggers list shows the name and properties of each trigger The Actions list shows the actions defined in the currently se-
defined for the currently selected event, as well as commands lected event, as well as commands to create and manage ac-
to create and manage triggers. tions.

Trigger Type Action Type Behavior Add

Logical Operators State Delay
Trigger Properties pop-up menu
Add
Actions
Triggers List
List

Actions list items, commands and displays

Triggers list items, commands and displays
Actions List
Triggers List
Each event can have up to eight actions in the Actions list. All
Each event can have up to eight triggers in the list. Triggers are actions occur when the event is fired. Right-click commands
shown in rows in the Triggers list. Right-click commands let let you select, edit, duplicate and delete actions.
you select, edit, duplicate and delete triggers.
Add
Add
The Add pop-up menu lets you create new actions. Actions are
The Add pop-up menu lets you create new triggers. Triggers organized in the menu according to the type of function they
are organized in the menu according to the type of console affect, such as channel functions, snapshots, GPI Output and
function or input signal that initiates (or triggers) the event. Tap Tempo.
Types of triggers include channel functions, footswitch/GPI
inputs, snapshot recall, and other console functions such as Type and Properties
talkback.
Each row in the Actions list shows the selected action Type.
Type and Properties Some actions have editable State and Behavior settings: all ac-
tions have a Wait (Delay) setting.
Each row in the Triggers list shows the selected trigger Type.
Some types of triggers have editable properties such as a dB Footswitch and GPI Status
level on a specific channel, or open/closed state of a foot-
switch input. Choices vary depending on the trigger type, and The Status display includes the Footswitch and GPI sections
not all triggers have editable properties. (see Figure 19), which show the present open or closed status
of each logic port. Each footswitch or GPI port can be named.
Logical Operators
Example uses of Switch and GPI inputs include remote snap-
Multiple triggers can be considered conditionally by applying shot recall from an external control system or custom control
a logical operator (AND, OR, XOR) to their properties. panel, or access to a console mode such as Preview mode, from
any Function key or footswitch input.
Triggers and actions which are unavailable due to unavail-
able hardware or console configuration are shown as itali- Example uses of GPI output include the following:
cized in the Trigger (and Action) Add menus. • 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 auto-
mated system turn-on

Footswitch GPI

Switch 1 GPI Inputs 1–8

Switch 2 GPI Outputs 1–8

Figure 19. Footswitch and GPI Status Display in the Events window

Chapter 22: Events 205

 To deselect or ore more events:
Creating Events  Right-click anywhere in the Event List and choose Deselect
The basic steps to create an event include the following: All.
• Add a new event in the Event List (see “Adding an Event”
on page 206). Moving Events
• Add and configure triggers for the event (see “Adding Selected events can be dragged and dropped to new locations
Triggers to an Event” on page 207). in the list. You can also manually edit the Event number to re-
• Add and configure actions for the event (see “Adding Ac- sequence items.
tions to an Event” on page 209).
To move one or more events:
Several pre-defined (default) events are available immedi-
1 Select one or more events in the Event List.
ately; others are available among the Demo Shows installed
with the system software. For more information, see “De- 2 Click in the row of any selected event and drag to a new lo-
fault Events” on page 212. cation in the list. As you move events, a white line appears in-
dicating the destination.
Adding an Event 3 Release the mouse button to drop the events at the desired
location in the Event List. When moving multiple events,
To add a new Event to the Event List:
moved events will be adjacent regardless of their original loca-
1 Go to the Options > Events page. tions relative to each other (whether adjacent or non-adja-
cent). Events will be renumbered as necessary according to the
2 Do any of the following:
new sequence of events.
• To create an empty, untitled new event, click the New
button in the Event Commands section.
To manually edit an Event number:
– or –
 Double-click the Event Number and enter a new three digit
• To create a copy of a pre-existing event, select one or number to resequence the list accordingly.
more events in the list and click the Duplicate button.

Managing Events in the Event List

Selecting Events
Once created, events in the list can be managed using
Event list items can be selected, renamed, duplicated, deleted, on-screen buttons and right-click commands to rename, du-
cleared, enabled or disabled, tested and reset. plicate, delete, clear, enable or disable them.

To select one or more events, do any of the following: You can also use the Test and Reset commands to manually
audition events for development and diagnostics. For more
• To select a single event, click its row in the Event List.
information, see “Testing Events” on page 210
• To select all events, right-click an event and choose Select
All. Renaming an Event
• To select multiple contiguous events, click the first de-
sired event and then Shift-click (or Multi-Select-click) the To rename an event:
last desired event. All events in between are selected. 1 Double-click the Event Name in the list. Or right-click the
• To select multiple discontiguous events, or to de-select an Event Name and choose Rename.
individual event, Ctrl-click (or Fine-click) its row in the
2 Enter a new name.
Event List.
3 Click Enter to confirm the new name.

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:
Events selected in the Event List
1 Select one or more events in the Event List.

2 Click the Duplicate button on-screen. Or, right-click a se-

lected event and choose Duplicate.

206 VENUE Profile Guide

Deleting and Clearing an Event Disabling an active event does not automatically de-activate
any associated actions configured for While Active behavior.
Deleting an event removes it permanently from the Event List.
Use the Reset command instead (see “Resetting Events” on
Clearing an event leaves the named Event in the Event List but
page 210).
clears all associated triggers and actions.
Disabling an event stops all delay timers (Wait properties) as-
To delete an event: sociated with that event, preventing any pending (delayed)
1 Select one or more events in the Event List.
actions from occurring.

2 Do one of the following: Disabling an event can be a useful troubleshooting tool,

• Click the Delete button on-screen. such as when an event has caused an action/trigger feed-
back loop and must be edited before being re-enabled.
• Right-click a selected event and choose Delete.

3 Click Delete in the Confirm Event Operation dialog to delete Disable All Events
the event. Or click Cancel to cancel the operation.
The Disable button in the Events Commands section lets you
To clear an event: temporarily disable all events in the event list.

1 Select one or more events in the Event List. To disable all Events:
2 Do one of the following:  Click the on-screen Disable button in the Events Commands
• Click the Clear button on-screen. area. The Disable button lights, and all items in the Event List
• Right-click a selected event and choose Clear. show “Disabled” in the Status column.

3 Click Clear in the Confirm Event Operation dialog to clear the

To re-enable Events:
event. Or click Cancel to cancel the operation.
 Click the Disable button again.

Enabling and Disabling Events All Events are prevented from firing when the global Disable
function is in effect. However, active events are not de-acti-
Events can be disabled to suspend their operation. An event
vated. Use Reset or Reset All for this (see “Resetting Events” on
can be selected and edited while it is disabled.
page 210).
You can toggle the enabled state of one or more events in the
Individual Event enable/disable status is preserved (events re-
list by clicking the on-screen Enable icons in the Event List, or
tain the current state of their Enable icons) and can be modi-
you can disable the Event List globally by clicking the master
fied when globally disabling and enabling events using the
events Disable button.
master Disable button.

Disable (all) Disabling an event stops all timers (Wait/delay properties) as-
sociated with that event, preventing any pending (delayed)
actions configured for While Active behavior from occurring.

Enabled
events
Creating Triggers
Disabled events
Each event can have up to eight triggers. You create new trig-
One selected event and two disabled events
gers by selecting them from the Add pop-up menu. Once
Toggling Enable Status for Selected Events added, you can edit triggers and their properties to customize
them.
To toggle the enable/disable status of an event in the list:
1 Select one or more events in the Event List. Adding Triggers to an Event
2 Click the Enable icon for the selected event to toggle its
To add a trigger:
state. Or, right-click an item and choose Enable or Disable as
appropriate. When the Enable icon is lit (green) the event is 1 Select an event in the Event List, or create a new one. (For
enabled; when the icon is unlit the event is disabled. details, see “Selecting Events” on page 206, and “Creating
Events” on page 206.)

Chapter 22: Events 207

 2 Click the ADD pop-up menu in the Trigger list and select an Only one logical operator is permitted per event, and this op-
action type. The selected trigger type is added to the Trigger erator applies to all triggers within the event. It is not possible
list for the currently selected event, with its default properties. 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 ta-

ble 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

Trigger A Operator Trigger B Result

Trigger Types 0 OR 0 0
Add Triggers 0 OR 1 1

1 OR 0 1
For a list of available trigger types, see “Trigger Types” on
page 215. 1 OR 1 1

Editing Trigger Type and Properties 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
To edit the trigger and its properties: evaluate to false (result = 0).

1 Double-click the trigger row in the list. Or right-click the ac- AND All triggers must be true. The following table shows the
tion item and choose Edit. effect of AND on events with multiple triggers. In the table, 0
2 Choose a new Trigger Type, or edit any of the available prop-
indicates a false condition (not occurring) and 1 indicates a
erties in the row for that trigger. Properties vary depending on true condition (occurring).
the type of trigger selected (not all trigger types have editable Example Truth table for AND showing two triggers
properties).
Trigger A Operator Trigger B Result

Logical Operators for Triggers 0 AND 0 0

An individual trigger is considered to be “true” when the func- 0 AND 1 0

tion described by its type and properties takes place, such as 1 AND 0 0
while a footswitch is actually pressed, or a fader is raised above
its trigger threshold. 1 AND 1 1

A trigger is considered to be “false” (or, not occurring) when- XOR

ever its function and properties are not met, such as when a
At least one trigger, but not all, must be true. The following ta-
footswitch is not being pressed, or while a fader remains below
ble shows the effect of XOR on events with multiple triggers.
its assigned trigger threshold.
In the table, 0 indicates a false trigger condition (not occur-
When an event includes multiple triggers, a logical operator ring) and 1 indicates a true condition (occurring).
(OR, AND, XOR) must be chosen from the Operators pop-up
Example Truth table for XOR showing two triggers
menu. (The default Operator is OR.)
Trigger A Operator Trigger B Result
The logical operator has no effect when the Triggers list in-
0 XOR 0 0
cludes only one item.
0 XOR 1 1
To choose a logical operator for the current event:
1 XOR 0 1
1 Select the desired event to display its assigned triggers.
1 XOR 1 0
2 Click the Operators pop-up menu (by default, this pop-up
menu displays “OR”) and choose AND, OR, or XOR.

208 VENUE Profile Guide

Managing Triggers in the Triggers List
Creating Actions
Triggers in the list can be edited, duplicated and deleted.
Each event can have up to eight actions. You create new ac-
tions by selecting them from the Add pop-up menu. Once
Editing Triggers
added, you can customize actions by editing their properties,
as available.
To edit a trigger:
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

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 in-
clude Closed or Open, On or Off, and Pressed or Released.

3 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 Add Actions
“Selecting Events” on page 206.
For a list of available actions, see “Action Types” on
Duplicating Triggers page 216.

To duplicate a trigger:
Editing an Action Type and Properties
1 Select one or more items in the Triggers List.
To edit an action:
2 Right-click on any selected item and choose Duplicate.
1 Double-click the action row in the list. Or, right-click the ac-

Deleting Triggers tion item and choose Edit.

2 Click the displayed action Type and make a new selection.

To delete a trigger:
1 Select one or more items in the Triggers List.

2 Right-click on any selected item and choose Delete.

Editing an action

Chapter 22: Events 209

 Action State Managing Actions in the List
To edit an action State for switches, buttons and other two-state Actions can be moved, renamed, duplicated, and deleted by
functions: right-clicking them and choosing the desired operation, just
as you can with triggers. For instructions on managing items
 Click the State pop-up menu and make a selection. Choices
in the Actions List, follow the instructions for triggers in
for State vary as appropriate for the trigger type, and will in-
“Managing Triggers in the Triggers List” on page 209.
clude Closed or Open, On or Off, and Toggle.

Action Behavior
Testing Events
To edit action behavior:
An event can be manually triggered to test it, regardless of its
 Click the Behavior pop-up menu and choose Latch or While current Event Status or enabled/disabled state. Use this feature
Active, as appropriate: to verify action properties and confirm proper operation of de-
vices connected to GPI output ports.
Latch Fixes the behavior in its defined state (such as open or
closed) until unlatched by another event or operation. When an event is in Test mode, it is effectively considered true
until the event is manually reset. An Event in test can be
While Active Latches the behavior in its defined state as long re-tested at any time by again pressing the Test button. You do
the associated trigger is in effect (active, or “true”), such as un- not have to reset in-Test events to re-test them.
muting a channel only while a footswitch is pressed and held.
Incoming triggers are ignored when events are in Test mode.
Pulse and Duration (GPI Output only) Produces a single-shot For example, if a footswitch event is being tested and you ac-
pulse output. Duration range is 0.1 second (100 ms) to 1.0 sec- cidentally hit the footswitch at some point during the test, the
ond, in 0.1 second increments. The default duration is 0.3 sec- event does not revert to Active the moment Test is cancelled.
onds (300 ms).
Events always return to their ready state following a Reset.
To configure GPI output pulse and duration for an action: Events won’t re-fire until the trigger logic re-asserts itself as
true.
1 Double-click the action to edit it

2 Click the Behavior selector and choose Pulse. To test events:

3 Enter a value for Pulse Duration. 1 Select one or more events in the Event List.

4 To confirm you changes, press Enter or click anywhere else 2 Click the Test button. Or, right-click an event and choose
in the Events window. Test from the pop-up menu.

3 When you're satisfied the event is behaving correctly, click

Action Wait the Reset button. Or, Right-click an event and choose Reset.
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 synchro-
nizing the timing of multiple external devices, or to build Resetting Events
timed sequences of actions.
You can use the Reset features to quickly reset Active or in-Test
To configure action Wait (Delay): events to “ready.” You can also use the Reset All command (in
the Events Commands buttons) to immediately reset all
1 Double-click the action to edit it.
events in the list.
2 To confirm your changes, click the Wait value to highlight it,
The current status of each event is shown in the Status column
then type in a new value.
in the Event List:

Event List Status indicators

Selecting Actions
Status Description
Actions can be selected using the same methods as used when
selecting items in the Event List. For more information, see Active Event is currently true (triggered)
“Selecting Events” on page 206.
Ready Event is currently false (not triggered)

Disabled Event is disabled and can not be triggered

Test Event has been manually triggered

210 VENUE Profile Guide

To reset an event: Snapshot Modes and Event Status
1 Select one or more events in the Event List. (See “Selecting
While in Propagate or Edit modes, events-driven snapshot re-
Events” on page 206.) call is suspended.
2 Click the Reset button. Or, right-click an event and choose
While in Preview mode, triggers that occur in the online state
Reset to reset an Active or in-Test event back to a Ready state.
of the console are executed, including MTC-driven recall of
snapshots. Triggers caused by changes to the offline (Preview)
To reset all events:
controls are ignored and do not cause events to occur.
 Click the Reset All button.

When events are reset, the following rules are applied:

Avoid Feedback Loops
 Latching or pulsed actions which have already occurred are Because events can both affect and be affected by snapshots, it
unaffected. For example, reset doesn’t unlatch a previously is possible for events to cause “feedback loops.”
latched function.
Be especially careful when Recall Previous or Next snapshot
 All action delay timers (Wait) are immediately cancelled. triggers and actions are combined with events that recall a
 Actions configured for While Active behavior are immedi- specific snapshot, as shown in the following diagram.
ately cancelled.
Snapshot 003 is recalled (manually, MTC, other)
 Events will not occur until the trigger logic again evaluates
as true.
Event 011 Trigger:
For example, let’s say you have an event configured to close a Recall of Snapshot 003
GPI Output whenever Channel 3 is muted (its behavior prop-
Action:
erty is While Active). Resetting the event opens the GPI Out- Recall Next Snapshot
put, even though the Channel 3 might still be muted. The
event will re-trigger the next time the channel goes from an
Result: Snapshot 004 is recalled
unmuted state to a muted state.

Event 414 Trigger:

Recall of Snapshot 004
Snapshots and Events Action:
Recall Previous Snapshot
Events can include snapshot functions among their triggers
and actions.
Result: Snapshot 003 is recalled
Snapshots as Triggers Diagram illustrating potential logic feedback loop between events and
snapshots
Events can be triggered by the following snapshot functions:
• Recall of specific snapshots The global Event Disable and Reset All buttons can serve as
• Enabling of Snapshot modes (Preview, Propagate and “panic” buttons to temporarily suspend and/or reset all
Edit) events, giving you a chance to diagnose the source of the
problem. For more information, see “Resetting Events” on
Snapshots as Actions page 210.

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 (overwrit-
ing and updating snapshots)
• Enable different Snapshot modes (Preview, Propagate
and Edit)

Chapter 22: Events 211

 Default Settings, Templates and Examples

Default Events
The following pre-defined events are included for you to use as examples and as the starting point for your own events.

Default events
Event Number Type and Name Triggers Actions

001 Footswitch 1 Switch 1 (Footswitch 1) Closed undefined (choose an action)

002 Footswitch 2 Switch 2 (Footswitch 2) Closed undefined (choose an action)

003 Preview Mode (F1) Function Switch 1, Pressed Preview mode, Toggle, Latch

004 (Flash F1) Preview Mode, On Flash Function Switch 1, On, While
Active

006 (Flash F2) Variable Groups Mode, On Flash Function Switch 2, On, While
Active

007 Copy Channel (F3) Function Switch 3, Pressed Copy Selected Channel
Light Function Switch 3, On, While
Active

008 Paste to Selected Strip (F4) Function Switch 4, Pressed Paste to Selected Channel(s)
Light Function Switch 4, On, While
Active

009 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

Trigger Action
Event Name Trigger Type Action Type Behavior
Properties Properties

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 1 Closed Mute Ch 1 Toggle

Mute Channel (Momentary) Footswitch 1 1 Closed Mute Ch 1 On While Active

Toggle Input Safe Switch mode Function Switch 1 Pressed Input Safe
Switch Mode

Tap Tempo Function Switch 1 Pressed Tap Tempo

Cue on Mains Function Switch 1 Pressed Cue on Mains

212 VENUE Profile Guide

Using the Templates 4 To quickly test the switch trigger, click the Test button, or
press the Footswitch. Adjust the trigger State for your foot-
To add any of the Events listed in the table, do the following switch, as necessary, for its open/closed orientation. (For in-
(using the first template, Talkback (Toggle) as an example): structions, see “Editing Trigger Type and Properties” on
page 208.)
To use the templates:
5 After testing the trigger, click Reset to return the event to its
1 Create a new event.
Ready state.
2 Edit the event name (for example, “Talkback (Toggle)” as
shown in the table). For renaming instructions, see “Renam-
ing an Event” on page 206.
Tap Tempo for Plug-ins
3 Click the (Trigger) Add pop-up menu and choose Footswitch
Tap Tempo lets you quickly establish a system tempo to use as
> Switch 1 (Footswitch 1). The Switch 1 trigger type is added,
a beat clock for delay and echo plug-ins that support Tempo
with a default State setting of Closed.
Sync.
4 Click the (Action) Add pop-up menu and choose Talkback.
The Talkback action is added. By default, the action State is The system tempo defaults to 120 BPM (beats per minute).
Toggle, and the behavior is Latched. There is no Wait (delay be- You can set a custom tempo in a number of ways including by
fore firing) needed for this action. tapping a Function switch, Footswitch or other control as ex-
plained below. The system tempo is stored as a console setting
Switch 1 (Footswitch 1) is now configured to toggle Talkback within the Show file.
On or Off each time the footswitch is pressed.
Snapshots can also store and recall tempo.
If you prefer momentary talkback, edit the event by doing the
A preconfigured Event for tap tempo is installed in the
following.
Demo Shows folder when you install VENUE software. To
1 Double-click the Talkback action in the Actions list to access use the example Event, go to the Filing page and click the
its editable properties. Or, right-click the action and choose Load tab, then select the file Tap Tempo Examples and
Edit. click the Load button.

Action Type State Behavior 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.
2 Click the action State pop-up menu (it displays Toggle by de-
• If desired, click the Units selector to choose Beats Per Min-
fault, or the current State setting) and select On.
ute (BPM) or Milliseconds as the units for displayed values.
3 Click the action Behavior pop-up menu and select While Ac-
tive. 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 22: Events 213

 Create a Tap Tempo Event Tips for Using Tap Tempo
2 Go to the Options > Events page and do the following in the The plug-in Tempo Sync switch enables/disables that individ-
order presented: ual plug-in’s delay value from following the system tempo.
• Create a new Event and call it Tap Tempo. Use the individual plug-in Tempo Sync switches to sync one,
• Click the Add button in the Trigger area, and select an some or all delay plug-ins.
available Function switch (F switch) or Footswitch.
Tempos can range from 20 BPM (3,000 ms) to 300 BPM (200
• Click the Add button in the Action section, and choose ms). Some delay plug-ins offer different time divisions (such
Tap Tempo. as 1/8th, 16th, or dotted) that you can select for variations
Enable the Plug-in’s Tempo Sync and Start Tapping based on the system tempo. Check your delay plug-ins to see
if they support Tempo Sync and subdivision settings (most,
Next, navigate to a delay plug-in and enable its Tempo Sync but not all, do).
switch. Repeat for other delay plug-ins you want to sync.
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 “Add-
ing Tempo Data to Snapshots” on page 196.

Tempo Sync

Tempo Sync in ModDelay and Line6 Echo Farm

3 Tap the assigned Tap Tempo trigger (Function switch or Foot-

switch) 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.

214 VENUE Profile Guide

Trigger Types
The following table lists the available trigger types and properties, along with a description of each.
Table 23. Trigger List, with default settings

Trigger Type Property 1 Property 2 Description

Fader Above Channel name/number Fader level –inf to +12 dB Fader moved above threshold level
(Default: –60 dB)

Fader Below Channel name/number Fader level –inf to +12 dB Fader moved below threshold level
(Default: –inf)

Mute Channel name/number On (default) Mute active/inactive

Off

Solo/AFL Any input, output, VCA, On (default) Solo/AFL active/inactive

Solo In Place Off

Function Switch Function Switch 1–8 Press (default) On button press (down)
Release On button release (up)

Footswitch Footswitch 1, 2 Open Footswitch input high

Closed (default) Footswitch input low

GPI Input GPI input 1–2 Open GPI Input high

Closed (default) GPI Input low

Recall Snapshot Snapshot number and name Event triggered by snapshot

Preview Mode On (default) Preview Mode active/inactive

Off

Propagate Mode On (default) Propagate Mode active/inactive

Off

Edit Mode On (default) Edit Mode active/inactive

Off

Talkback On (default) Talkback active/inactive

Off

Flip to Faders On (default) Flip to Faders active/inactive

Off

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 22: Events 215

 Action Types
The following table lists the available Action types and properties, along with a description of each.
Table 24. Action types

Action Type Property State Behavior Description

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 On Latch (default) Mute selected channel

name/number Off While Active
Toggle (default)

Mute Group Mute Group 1–8 On Latch (default) Toggle Mute group status
Off While Active
Toggle (default)

Mute All Stage Outputs On Latch (default) Mute all stage outputs
Off While Active
Toggle (default)

Clear Solos Mirrors console Solo Clear

Light Function Switch 1–8 On (default) Latch Lights Function switch

Off While Active
Toggle (default)

Flash Function Switch 1–8 On (default) Latch Flashes Function switch

Off While Active
Toggle (default)

Recall Snapshot Snapshot num- Recall specified snapshot

ber and name

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 Activate/deactivate Preview Mode

Off
Toggle (default)

Propagate Mode On Propagate mode active while trigger

Off is true
Toggle

Absolute Edit Mode On Enters Edit mode when trigger is

Off true; exits via Absolute when trigger
Toggle (default) goes false

Relative Edit Mode On Enters Edit mode when trigger is

Off true; exits via Relative when trigger
Toggle (default) goes false

216 VENUE Profile Guide

Table 24. Action types

Action Type Property State Behavior Description

GPI Output 1–2 Open Pulse, 0.3s (default) Pulses or latches selected GPI Out-
Closed (default) Latch put
Toggle While Active

Flash Console Lights Flashes console lights

Top Row Flip to Faders On Latch (default) Mirrors top encoder row Flip to Fad-
(D-Show Main only) Off While Active ers
Toggle (default

Bottom Row Flip to Faders On Latch (default) Mirrors bottom encoder row Flip to
Off While Active Faders (D-Show Main only)
Toggle (default)

Link Main and Sidecar(s) Faders On Latch (default) Mirrors console function
(D-Show Main only) Encoders Off While Active
Both Toggle (default)

Variable Groups Mode On Latch (default) Toggles Variable Groups Mode on/off
(VENUE Profile and D-Show only) Off While Active (only if console config is 24-bus
Toggle (default) mode)

Input Safe Switch Mode Cycles through Input Safe Switch

modes

Tap Tempo Sets the system tempo to synchro-

nize delay plug-ins that support
Tempo Sync

Cue on Mains Maps Cue level (Solo/Monitor bus)

level to the Mains fader; maps Mains
to Output encoders 1–3

Cancel Operation Mirrors console Cancel switch (and

Esc key on keyboard)

Chapter 22: Events 217

Chapter 23: Synchronization

VENUE systems provide a set of MIDI-based synchronization 5 Control MTC playback from the MTC generator controls by
features that allow automation and remote control of snap- doing any of the following:
shots, and triggering of external devices when snapshots are • Start MTC playback by clicking the Play button.
recalled. • Pause MTC playback by clicking the Pause button.
• Stop MTC playback and reset to the Start Time by press-
ing the Stop button.
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 MIDI Time Code controls
Time Code from an external source.
Reading External MIDI Time Code
For instructions on MIDI and other connections required for
The VENUE system can slave to external MTC and automate
synchronization, see Chapter 2, “Configuring and Con-
the recall of snapshots based on the incoming MTC.
necting Profile.”

To read external MIDI Time Code:

Generating MIDI Time Code
1 Go to the Options page and click the Snapshots tab.
You can set the VENUE system to generate MIDI Time Code
and automate the recall of snapshots based on MTC playback. 2 Under MTC Mode, click Read. A MIDI Time Code display ap-
pears at the bottom of the screen.
To generate MIDI Time Code from the VENUE system:
1 Go to the Options page and click the Snapshots tab.

2 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).

4 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.

Chapter 23: Synchronization 219

 Snapshot MIDI Time Code Display Capturing Time Code Values in Snapshots
When the system is set to generate or read MIDI Time Code, To capture the current MTC value in a new snapshot:
the Snapshots List shows time code values and a green Recall
Enable indicator for each snapshot entry. 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 cap-
ture, and click the New button.

A new snapshot appears with the time code value at the time
Snapshots List showing time code values and indicators 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  Right-click the snapshot in the Snapshots list and choose
Code, you can assign time code values to snapshots by enter- Set Timecode To.
ing values manually, or by capturing MTC playback values.
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
1 In the Snapshots List, double-click the MTC value you want value, so that they appear in chronological order.
to change.
When chasing to MTC, snapshots will always recall in
chronological order, regardless of their order in the Snap-
shots list.

To sort snapshots by their assigned MIDI Time Code value:

 Right-click any snapshot in the Snapshots list and choose
Snapshot showing selected MTC value
Re-Sort All By Time Code.
2 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.

3 Press Enter or click another snapshot MTC value to accept

the entry.

Right-click menu for items in the Snapshots list

220 VENUE Profile Guide

Enabling Snapshots for Automated Recall
Remote Control of Snapshot Recall
With time code values assigned to snapshots, you can then
enable snapshots for recall with time code playback. The VENUE system can be set to recall snapshots in response
to MIDI control messages sent from an external device such as
To enable snapshots for automated recall with MTC: an AV controller system. You can set the system to respond to
control messages sent on any one of 16 available MIDI chan-
 Click the Time Code Recall Enable indicator on the right side nels.
of the Snapshots list. The indicator turns bright green to indi-
cate that the snapshot is enabled for recall. Snapshots are recalled when their snapshot number (1–999) is
received in the form of MIDI Bank Select and Program Change
messages. (See Table 24 on page 221.)

To enable recall of snapshots from an external device:

1 Go to the Options page and click the Snapshots tab.
Snapshot enabled for automated recall with MTC
2 Under MIDI, select the Snapshots Respond to Channel op-
tion, and choose the MIDI channel from the corresponding
Chasing MIDI Time Code pop-up menu.
With snapshots enabled for automated recall, the Chase MTC
function needs to be engaged to allow automated recall to oc-
cur.

To initiate automated recall of snapshots:

1 Click the Chase MTC button so that it is highlighted.

2 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 snapshot’s time code value is reached, The system listens on the specified channel for Bank Select
the snapshot is recalled. and Program Change messages.

Snapshot modes can affect MTC recall. For more informa- The MIDI Snapshot Output Safe option does not affect this
tion, see “MTC and Other Online Event Triggers” on option. You can only turn off this feature by deselecting the
page 194. “Snapshots Respond to Channel” option.
The Chase MTC button can be used to quickly take VENUE
system offline from MTC-triggered recall in performance in Table 24. MIDI Bank and Program Numbers for Snapshots
the event of a change in timing, such as a missed cue or Bank Program Snapshot Number
dropped verse. You can then advance manually to an appro-
0 0–127 001–128
priate snapshot, and re-enable Chase MTC.
1 0–127 129–256
VENUE systems do not chase up to the current timecode
value. If you start playback in the middle of a snapshot se- 2 0–127 257–384
quence, any prior snapshots will need to be recalled manu- 3 0–127 385–512
ally to update the console before beginning time code play-
back. For more information, see “Selecting and Recalling 4 0–127 513–640
Multiple Snapshots” on page 184. 5 0–127 641–768

6 0–127 769–896

7 0–103 897–999

VENUE software stores Bank Select messages, so it is not

necessary to send a Bank Select message prior to every Pro-
gram Change message. You only need to send a Bank Se-
lect message when you want to recall a snapshot in a dif-
ferent bank from the previous snapshot.

Chapter 23: Synchronization 221

 Triggering of External Devices on Sending MIDI Messages on Snapshot
Snapshot Recall Recall
The VENUE system can be set to send MIDI Bank and Program You can add up to 20 specific MIDI messages to each snap-
Change messages whenever a snapshot is recalled, to trigger shot. These messages are sent whenever the snapshot is re-
external devices whose cues are related to snapshots. You can called. Sending of the messages is enabled with the MIDI
set the system to send on any one of 16 available MIDI chan- scope control in the Snapshots window. For more informa-
nels. tion, see Chapter 21, “Snapshots.”

MIDI output is automatically suspended while in Preview

mode. For more information, see “Preview Mode” on
page 191. Synchronizing with Word Clock and
Digital Audio Input
While it is possible to add Bank Select and Program Change
messages to individual snapshots, this option lets you toggle VENUE systems receive and output Word Clock (at a sample
messages on and off for all snapshots in one step. Using this rate of 48 kHz ± 10ppm) for synchronization with a master
option also ensures that the Bank Select and Program Change clock generator (house sync) or other device that uses clock
messages correspond to the snapshot number, even after reference. VENUE systems can operate as a Word Clock mas-
snapshots are rearranged in the Snapshots list. ter, or it can slave to Work Clock input.

The Bank Select and Program Changes messages reflect the The Word Clock In and Word Clock Out ports are located on
number (1–999) of the recalled snapshot. (See Table 24 on the Mix Rack and FOH Rack.
page 221.)

VENUE systems always send a Bank Select message before

Synchronizing with Digital Audio Input
every Program Change message, even if the bank number VENUE systems automatically synchronize to Word Clock In.
has not changed from the previous snapshot. All digital inputs are sample rate converted and clocked to 48k
and synchronized to the VENUE system clock.
To enable triggering of external devices when snapshots are
recalled: This lets you connect a variety of digital sources (such as a
1 Go to the Options page and click the Snapshots tab. DAT machine or CD player with digital outputs), directly to
VENUE digital inputs.
2 Under MIDI, select the Snapshots Send on Channel option,
and choose the MIDI channel from the corresponding pop-up For instructions on Word Clock and digital audio connections
menu. for synchronization, see Chapter 2, “Configuring and Con-
necting Profile.”

Snapshot MIDI send option

The VENUE system sends a Bank Select and Program Change

message on the specified channel whenever a snapshot is re-
called.

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.

222 VENUE Profile Guide

Chapter 24: Using the Standalone Software

VENUE Standalone software lets you do all of the following to

preconfigure performances, wherever you can use your lap- System Requirements
top:
The following are the minimum system requirements for us-
• Learn the basics of the VENUE software interface in prep- ing the VENUE Standalone software:
aration for working at a full VENUE system.
• Computer running Windows XP Pro or XP Home
• Assign hardware I/O and routing, and name channels. Edition O/S, Service Pack 1
• Set channel input, EQ, dynamics, pan, and other set- • Minimum 1024 x 768 screen resolution
tings.
• Minimum 16-bit color graphics, 32-bit recommended
• Create and maintain a library of setups, with access to
• Minimum 256 MB RAM, 512 MB recommended
nearly all parameters available on the control surface.
• Minimum 200 MB of available hard disk space, 512 MB
• Store and recall Snapshots, and configure Events.
recommended
• Use the Filing features to transfer Shows, Shows Folders,
• CD-ROM drive for installation (unless installing from
and plug-in presets to/from a compatible USB storage de-
web-download)
vice to transfer data between the standalone software and
• Available USB 1.1 or 2.0 port and compatible USB storage
VENUE.
device (such as a flash disk, key disk or other external
Transferring data must be done to/from a compatible USB hard drive) for file transfer
storage device such as a USB key disk or other external USB
Installation requires Windows Administrator permissions.
hard drive.
Once installed, the software can be run under Admin or User
accounts.
Differences Between Standalone Software
and a VENUE System
The Standalone software is nearly identical to that on a full Installing the Standalone Software
VENUE system, with the following differences:
To install the VENUE Standalone software:
Audio Throughput
1 Do one of the following:
You cannot play audio through the Standalone software. • Download the VENUE Standalone Software Installer
Real-time audio requires the VENUE hardware. from the Avid website (www.avid.com).
– or –
Plug-In Editing
• Insert your VENUE Software Installer into the CD-ROM
When a Show is transferred from a complete VENUE system, drive on your Windows XP-compatible computer.
all plug-ins installed on the D-Show system are visible in the
Standalone software as offline (unavailable) plug-ins. You can 2 Launch the installer and follow the instructions on-screen.

assign offline plug-ins to racks, and assign plug-in rack routing The VENUE Standalone software requires no authorization.
in the Standalone software, and save the routing in snapshots.
Removing the Standalone Software
You cannot install plug-ins or adjust plug-in parameters
unless you are working on the complete VENUE system.
To remove the VENUE Standalone software:
Hardware Configuration 1 Launch the Add/Remove Programs Control Panel.

In the Standalone software, you can simulate the hardware 2 Choose VENUE, then follow the instructions on-screen.
configuration of a destination system from the Devices tab of
the Options page.

Chapter 24: Using the Standalone Software 223

 Simulating a VENUE Configuration Transfer and Filing Quick Start
You can use the Standalone software to simulate a VENUE sys- The basic steps for using the Standalone software and data
tem with any number of input and outputs. The correspond- transfer are as follows:
ing inputs and outputs become available in the Patchbay, al- • Save data to disk, then transfer it to an external USB storage
lowing you to prepare a show that can transfer directly to the device.
destination system.
• Transfer data from the USB device, then load the data.
To simulate a VENUE system:
For complete instructions on transferring data, see
1 Launch the Standalone software. Chapter 20, “Shows and File Management.”

2 Go to the Options page and click the Devices tab.

Save and Transfer Data from a
3 Right-click the console graphic and choose the type of con- VENUE System
sole you will be working with.

4 Right-click an I/O graphic and choose the type of I/O (as

To save and transfer data from the complete system:
available) and specify the number of Input and Output cards 1 Connect a USB storage device to a VENUE USB port.
on the destination system.
2 Use the Save tab of the Filing page to save VENUE data to
disk.

3 Go to the Filing page and click the Transfer tab.

4 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 con-
sole, equivalent to an auto-saved Show file), click the Set-
tings 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
Adding Stage Rack inputs and outputs Input Channel Presets item from the pop-up menu, or
click the Scope Sets icon.

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 Click the Transfer button.

224 VENUE Profile Guide

Transfer and Load Data to the Creating and Editing Shows and Presets
Standalone Software
Use the techniques explained throughout this guide to assign
1 Connect the USB storage device to your laptop. Make sure routing, rename channels, and to configure other parameters.
the drive is mounted before proceeding. Then do the following to save and transfer your work to a
complete system.
2 Launch the VENUE standalone software.

3 Go to the Filing page and click the Transfer tab. To save and transfer VENUE data from the standalone software to
the complete system:
4 Make sure your USB disk is available in the list at right.
1 Connect a USB storage device to an available USB port on
5 Click the Console, Settings, Show Folders, Shows, Preset Fold-
your laptop.
ers, Built-In, Plug-In or Scope Set selectors to select the type of
data you want to transfer. 2 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.

5 Use the Transfer tab of the Filing page to transfer the VENUE
data from the USB storage device.

6 Use the Load tab of the Filing page to load the transferred
data.

CD Transfer
The VENUE system 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 To use a CD for transfer:

Transferring a Scope Set for the standalone software 1 Using the Standalone software on a laptop or other com-

6 Click the Transfer button. The data is transferred from the

puter, create and save a show.
USB device to the appropriate VENUE data folders on the lap- 2 Locate the VENUE data folder on the system drive.
top.
3 Copy that folder and its contents to a CD-ROM. Make sure
7 If you chose Console, data is automatically loaded and ap- the folder is at the root level of the CD-ROM.
plied. If you chose any other data type, go to the Filing page
4 Burn or write the disc as a Windows-compatible CD-ROM.
and click the Load tab, and load the newly transferred data
into the Standalone software. 5 Insert the CD-ROM into a VENUE CD-ROM drive.

6 In the Filing screen, select the CD-ROM drive as the source

for file transfer.

7 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 dur-
ing a performance. This only applies to a VENUE CD-ROM
drive (not the laptop on which you’re running the stand-
alone software).

Chapter 24: Using the Standalone Software 225

 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 custom-
ize 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.

2 Click the Info button and follow the on-screen instructions

to print a complete system description.

For more information, see “VENUE System Information Ex-

port” on page 113.

To export Patchbay names:

1 Go to the Patchbay page you want to export.

2 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 applica-
tion for formatting or other modification. For more informa-
tion, see “Patch List Export” on page 114.

226 VENUE Profile Guide

Part VI: Specifications
Chapter 25: Mechanical Specifications

VENUE Profile Console Mechanical Specifications

Maximum Height (front) 3.2 inches (81 mm)

Maximum Height (rear) 6.8 inches (169 mm)

Maximum Width 45.21 inches (1150 mm) with endcaps

44 inches without endcaps

Maximum Depth 31.11 inches (790 mm)

Weight 90 lbs (40.8 Kg)

Power Requirements 100–240 V, 50–60 Hz, 160 W

USB Ports (5) USB 1.0/USB 2.0

GPI In Port DB-25 D-Sub, female

GPI Out Port DB-25 D-Sub, male

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)

ECx Ethernet Control RJ-45 (for ECx remote control)

Console Light Connectors (2) XLR3–F

FOH LInk Connector (to Mix Rack, FOH Rack) MIL connector

Max FOH Link cable length 11 ft (3.35 m)

45.21

31.11 6.8

VENUE Profile dimensions

See the Mix Rack Guide, FOH Rack Guide, and Stage Rack Guide for specifications on those units.

Chapter 25: Mechanical Specifications 229

Chapter 26: Audio Specifications

VENUE Profile Console Audio Specifications

Internal Sample Frequency 48 kHz

External Sample Frequency 48 kHz +/– 10 ppm (word clock input)

Processing Delay less than 2.8 ms (96 channels, stage input through L–R bus to stage output)

Internal Processing up to 48-bit, fixed point

288 dB internal dynamic range

Frequency Response +/– 0.5 dB (22 Hz – 20 kHz BW, relative to 1 kHz)

THD + N less than 0.01% Stage input to L–R 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 L–R bus, channel & L–R faders @ max)

Crosstalk –100 dB typ (Adjacent stage inputs to L–R bus, @ 1 kHz)

Residual Output Noise –90 dBu typ (22 Hz – 20 kHz BW)

VENUE Profile Headphone Output

Connector 1/4-inch TRS unbalanced

Output Impedance 50 ohms

Max RMS Power Output (with 32-ohm phones) 20 mW

(at +21 dBu:
(with 600-ohm phones) 130 mW

VENUE Profile Talkback Mic Input

Connector XLR3-F

Phantom Power +15V @ 6mA (always on)

Sensitivity (fixed) –20 dBu

Input Impedance 20K ohms

All specifications subject to change.

Mix Rack, FOH Rack, and Stage Rack For audio specifications
on Mix Rack, FOH Rack, or Stage Rack, see the guide that came
with that rack. If your racks include any VENUE expansion op-
tions, see the guide that came with each option.

Chapter 26: Audio Specifications 231

Chapter 27: Signal Flow Diagrams

VENUE Profile Systems: Input Signal Flow

Chapter 27: Signal Flow Diagrams 233

 VENUE Profile Systems: Output Signal Flow

234 VENUE Profile Guide

Chapter 28: Troubleshooting

This chapter provides troubleshooting and problem solving information. It includes a table of problems and solutions that pro-
vides 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 29. Troubleshooting Errors and Messages

Symptom or Message Possible Cause Solution

Faders, Switches, Channels, and Devices

Fader stuck Fader path was blocked during startup cali- Reset the unit on which the stuck fader resides by right-click-
bration ing 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 Backup personality is in effect Wait for the system to recover and follow instructions
working on-screen to resume operations (see “Resuming Normal
Operation” on page 238).

Channel meter Stereo LED Indicates a difference of 12 dB or more Trim source levels or input gains to balance.
is flashing between the two sides of the stereo signal.

Cannot pan an Aux Send Aux panning is configured to follow channel In the Options > Busses page, select the Follows Channel
from the ACS pan Pan option. Deselect for each Aux Send you want to pan inde-
pendently from channel pan.

Startup and Restarts

System failure and restart, The VENUE software has been forced to Continue mixing using features available while the backup
then the Resume Opera- restart and the backup personality is now in personality is in effect (see “In Case of System Failure” on
tions dialog appears effect. page 237). Follow the instructions on-screen to resume oper-
ations after a restart (see “Resuming Normal Operation” on
page 238).

Chapter 28: Troubleshooting 235

 Table 29. Troubleshooting Errors and Messages

Symptom or Message Possible Cause Solution

Repeated failures An incompatible plug-in, a corrupted data Check to make sure you are using the most current versions
file or application software, or a hardware of all your plug-ins (check with the manufacturers). If failures
error. 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 per-
sist. 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 “Updat-
ing 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 con-
nections and power supplies.

Plug-Ins

The plug-in racks need to The racks have gone offline. The racks go Follow the instructions on-screen to reset the racks (see
be re-initialized offline whenever the backup personality is in “Re-Initializing the Plug-In Racks” on page 238).
effect, and after some conditions in which a
plug-in or the DSP host failure causes signif-
icant problems.

One or more plug-ins are A Show was loaded that references plug-ins Install the plug-ins, if available (see “Installing and Authoriz-
unavailable which are unavailable on the current system ing Plug-Ins” on page 151).
Remove or replace the plug-ins in the Show, or load a differ-
ent Show file.

A plug-in is not fully compatible and is caus- Check all plug-ins to make sure you are using the most recent
ing failures versions. Go to Options > Plug-Ins and click the plug-in to dis-
play 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).

Plug-in authorization dia- A plug-in is installed that needs to be autho- Click Quit to dismiss the authorization dialog and continue
logs appear every time the rized for demo or full use. starting up (the plug-in will be unavailable).
system starts or restarts 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
“Installing Plug-Ins Manually” on page 152).

Error Messages

One or More Units have Bad or missing connection Check all cables and connections. Make sure digital grade
Failed XLR cables are being used to connect D-Show Main Unit and
all Sidecar units (VENUE D-Show systems only).
Check to make sure that the last Sidecar in the chain is prop-
erly terminated (VENUE D-Show systems only).

A unit needs to be reset Reset the component in Options > Devices. If necessary,
restart the VENUE system.

Plug-In Racks Need Reset The racks have gone offline due to the Follow the instructions on-screen to reset the racks (see
backup personality being in effect, a plug-in “Re-Initializing the Plug-In Racks” on page 238).
has failed, or some circumstances have
caused the DSP engines to require a reset.

236 VENUE Profile Guide

Table 29. Troubleshooting Errors and Messages

Symptom or Message Possible Cause Solution

Power Supply Alert A power supply is failing or is not plugged in. Click Review to show the Options > Devices page. Reset units
A power supply jumper switch is set incor- as needed (see “Hardware Monitoring Window” on
rectly. page 240).

Control Surface Change A unit Bus ID has changed, a new console Click to clear the message. Check unit Bus IDs to make sure
(VENUE D-Show systems has been detected, or a new sidecar has input channel strips are arranged as desired.
only) been detected.

Date & Time Check System clock setting for time of day should Check and reset system time in the Options > Misc page.
be checked against current time. Incorrect system time can affect data transfer and plug-in
authorizations.
If clock problems persist, the battery may need to be
replaced in the system rack or console (contact VENUE sup-
port if you suspect this is occurring).

Sample Rate Conversion A sample rate mismatch or lack of clock has No immediate action required; automatic sample rate conver-
Alert been detected at a digital input. sion maintains digital throughput, allowing you to check set-
SRC OFF LEDs flashing tings and connections between D-Show and external digital
(Systems with DSI option devices later. For more information on digital connections and
only) synchronization, see “Digital Inputs and Sample Rate Conver-
sion” on page 24.

Hardware Monitor Alert The system has detected a hardware com- Click HW Monitor to access the Hardware Monitor WIndow for
ponent that is performing above or below its the device. See “Hardware Monitoring Window” on page 240.
hardware specification.

In Case of System Failure

VENUE systems include multiple redundancy and fail-safe Features that Remain Active
routines that help protect against problems that could inter-
rupt audio. These include the ability to maintain mix control The following essential mixing features remain available
even if a failure occurs, to reset software and hardware compo- while the backup personality is engaged:
nents, and to completely reset and reinstall the system soft- • Bank Input Channels (Banks A–D); adjust levels and mutes.
ware. (FX Returns are banked independently of Input Channels.)

For maximum protection, Redundant Power Supplies are • Bank to FX Returns; adjust faders and mutes
available. For systems that utilize one or more VENUE hard- • Bank Output faders; adjust faders and mutes
ware racks, redundant Snake options are available to provide • Control VCA masters, including VCA mutes, and have all
additional backup system communication for uninterrupted members of the VCA group reflect VCA adjustments
operation.
• Display the correct name for any fader in its LCD display,
even while banking
Maintaining Mix Control
• Meter input signals on the channel input meters, and meter
If at any time the system fails, or if the system is reset or re- bus outputs on the assignable meters. Meter mode selection
started, the VENUE software backup mode is automatically buttons remain active on meterbridge (however, Meter
engaged to maintain audio throughput and essential mix con- mode does not automatically follow output selection, if
trol. configured to do so).
• Compressor and gate meters remain active for all Input
While the backup personality is engaged, a dialog appears
Channels (however, Comp In and Gate In switches are not
on-screen in the banner display. The system then begins to re-
available)
set itself in the background, while you can continue to use the
faders and mute switches to perform basic mixing. Plug-Ins • Meterbridge System Status LEDs turn off (VENUE D-Show
continue to process audio but their controls cannot be and Profile only)
changed until the process is complete.

Chapter 28: Troubleshooting 237

 • Channel select is disabled for all inputs and outputs Resume Operations Use this option if you need to wait for a
 Switch the Mute Group Masters, and see the effect on the break in a performance to complete the resumption of normal
channels with member-mutes (flashing mute switches) operations.

 All LCD displays illuminate (orange) Reset Mix Engines Use this option to do a full system reset in
• Adjust near-field monitor and headphone levels 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.
Unavailable Features
More Options Use this option to clear the console (reset, or
The following features are unavailable while the backup per-
“zero” the board), or to perform hardware diagnostics.
sonality is in effect:
• Use the ACS
Resume Operations
• Modify any other mixing parameters apart from faders
and mutes (for example auxes) This option begins the process of resuming operations and lets
• Use solos or Solo In Place you control precisely when the plug-in racks are re-initialized.
• Change the input or output routing, or order of inputs
To begin the Resume Operations process:
• Make stereo, or unlink stereo to discrete mono channels
• Channel Control and Flex Channel 1 Click Resume Operations. The console resets all parameters
and configuration settings. When completed, the Plug-In
• Change bus or group assignments, or Group spill
Racks Reset dialog appears to let you initiate the process of
• Change VCA membership, VCA spill, or show VCA mem-
re-initializing the plug-in racks.
bers
• Change names or access any Filing functions 2 Reset the plug-in racks (see next).

• Reconfigure any system parameters in the Options

Re-Initializing the Plug-In Racks
screens
• Access GEQs on the faders (GEQs continue to process au- The plug-in racks are taken offline during a Resume Operation
dio in backup mode) process. Whenever the plug-in racks go offline they will need
• Adjust the parameters of any existing Plug-In to be reinitialized to resume normal operation.

• All LED indicators (except meters) and output fader CAL Do not reset the racks until there is a long enough break in
lights go dark and are inactive the performance that the rack can be fully rebuilt with no
signal passing through. This is especially important when
Resuming Normal Operation using crossover plug-ins or gain-attenuating plug-ins.
(Exiting the Backup Personality) The following conditions apply when resuming operations
When the system has recovered and is prepared to return to • When offline, plug-ins on Input Channels and FX Re-
normal operation, the Ready to Resume dialog appears turns continue to pass and process audio using their set-
on-screen. tings 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 unavail-
able 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
Ready to Resume dialog
turned off (all assigned plug-ins are made inactive).
Choices in the Ready to Resume dialog give you options for • When all plug-ins have loaded and the racks initialized,
how and when critical functions are brought back online. the system displays a dialog alerting you that the racks
Utility functions are also provided for reset and diagnostics, as are ready to be brought back online (reactivated). This is
described in the following sections. provided as a final precaution against sudden changes to
audio when plug-ins resume processing.
Because this process can interrupt audio throughput, wait
for a silent portion of the performance before confirming Shortly after you confirm that you want the racks brought
(such as a break between songs, intermission, or similar). back online, plug-ins resume processing audio and all param-
eters become available for editing.

238 VENUE Profile Guide

To re-initialize (reset) the racks:
1 In the Plug-In Racks Reset dialog, click Reset to begin the
Performing a Soft Reset
plug-in rack re-initialization. If your VENUE system ever needs to be reset, do the following:

To restart the system:

1 Go to the Options > System page.

2 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 dia-
log appears alerting you that the plug-in racks are ready to be
re-activated. If restarting the system does not correct a problem, you may
have to reset hardware components, identify and remove any
2 Click Use Racks to confirm that you want the racks to be incompatible plug-ins, or reinstall VENUE software using the
re-initialized. Status is shown on-screen. After the process is System Restore CD.
complete, the console and all plug-ins are operational again.

Reset Mix Engines Additional Reset Options

Additional shortcuts are provided while restarting the system,
Use this option to do a full system reset in one step. Reset Mix
which let you do the following:
Engines resumes all operations automatically, including the
console, settings, and plug-in racks. • Back up the current show settings and clear the console. Use
this option if you suspect an auto-saved setting has become
Audio may be interrupted or may change levels during corrupted. This lets you save your most recent settings and
this reset procedure. clear the console without having to do a full system restore.

To reset the Mix Engines and all operations immediately: – or –

 Click Reset Mix Engines in the Ready to Resume dialog. • Launch into Explorer, to be able to manually manage soft-
ware components. Use this option to troubleshoot the sys-
Operations are brought back online; no further interaction is tem if problems arise early in the startup process and persist
required (no warning or confirmation dialogs appear). through repeated restarts.

More Options Backup and Clear Console

Additional options are provided to clear the console, or to run
To backup and clear the console at restart:
DigiTest (hardware diagnostics).
1 Start or restart the system.

To access additional options: 2 Watch the screen closely during the startup process. As soon
 Click More Options. as the cursor becomes visible (and before the VENUE software
logo screen appears) press and hold the C key on the computer
After clicking More Options, a dialog is displayed that pro- keyboard. Continue to hold the C key (do not press it repeat-
vides the following options. edly).

Clear Console 3 A dialog appears that lets you choose to backup your
auto-saved settings and clear the console, or to continue and
 Click Clear Console to reset all parameters on all channels to load settings normally.
their factory default settings.
If you press the C key too early in the startup process, the
Run DigiTest USB keyboard is reset instead of calling the Backup and
Clear dialog. If you do not see the backup and clear dialog,
DigiTest is hardware diagnostics software for VENUE systems.
repeat the restart process and try again.
Only use DigiTest at the request of a VENUE technician to di-
agnose specific hardware problems.

Chapter 28: Troubleshooting 239

 Startup in Explorer The following is an example of the Hardware Monitoring
Alert:
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 repeat-
edly) until you see the Explorer desktop.

3 From Explorer, you can manually find and delete suspect

data files, plug-ins, or perform other file management tasks. Hardware Monitoring Alert

Should a problem occur with any of the components in your

If you are unsure about how to troubleshoot a computer and
system, the Hardware Monitoring window will provide infor-
its files, it is recommended that you contact VENUE cus-
mation that will be useful in troubleshooting while in contact
tomer service.
with VENUE customer service.

Hardware Monitoring Window

Resetting Hardware Components
VENUE systems provide the Hardware Monitoring window in
(VENUE Profile and D-Show Systems Only)
which performance of hardware components can be viewed
and monitored. Some VENUE hardware can be reset from the Options > De-
vices screen, or by power-cycling the component. It is recom-
The Hardware Monitoring window is not available in the
mended that you perform a reset if, for example, the Hardware
Standalone version of VENUE software.
Monitor Alert dialog appears, or if a connected device stops
communicating with the rest of the system.
Accessing Hardware Monitoring

To access the Hardware Monitoring window, do any of the Indication

following:
The system software will display error messages alerting you if
• Press Ctrl+Shift+M at any time to open the a device fails or is no longer available.
Hardware Monitoring window.
• In the Options > Devices page, right-click on a unit and The system remembers the last hardware configuration used.
choose Hardware Monitoring in the pop-up menu. This If it doesn't find all units at the next startup, it displays those
opens the Hardware Monitoring window for the selected units as grayed out in the Options > Devices page. Units re-
device. main offline (and the system displays error messages alerting
you to their absence) until either the units are powered up and
• If the Hardware Monitoring Alert dialog appears
come online, or you tell the system to forget the offline units
on-screen, click to select Show Hardware Monitor. The
by right-clicking the missing devices and choosing Forget.
Hardware Monitoring Alert dialog for the problem device
appears automatically and identifies the reading that is
To reset system hardware:
out of specification.
1 Put the system in Config mode.
The Hardware Monitoring Alert window is only displayed
once per device (should a problem ever be detected with that 2 Go to the Options page and click the Devices tab.
device).
3 Right-click any displayed hardware components:
• Console
• Inputs section
• ACS sections
• Outputs section

240 VENUE Profile Guide

4 Choose Reset. To start, update, or restore a system using the System
Restore CD:
1 Make sure outputs, speakers, and power amps are muted.

2 Insert the System Restore CD into the VENUE system

CD-ROM drive.

3 Go to the Options > System page.

Resetting a unit in the Options > Devices page 4 Alt-click the Shut Down button.

5 Click to restart the system, then press and hold F10 on the
keyboard until either of the following occur, depending on
Using the System Restore CD to
your hardware:
Update or Restore the System
• If the system begins to boot off the Restore CD, proceed
One copy of the System Restore CD is included with each sys- to step 4.
tem. The System Restore CD provides software installers to up- • If the Restore CD text screen appears, release F10 and use
date or restore a system. the Up and Down Arrow keys to select the CD drive, then
press Enter. This launches using the software on the in-
Updating or Re-Installing Updating or re-installing system soft-
serted System Restore CD. Continue to step 4.
ware lets you replace VENUE software (including new install-
ers for factory-installed plug-ins) but preserve any saved Some models of USB keyboards require repeated pressing of
Shows and Presets. Use this option to update system software F10 (holding it down in between pressings) to register.
or firmware, or to re-install system software or the installer for
a factory-installed plug-in. 6 Do one of the following to update or restore system soft-
ware:
Factory-installed VENUE plug-ins are immediately available to
• To update system software while keeping any Show files
be reinstalled from the Options > Plug-Ins page. Plug-ins that
and Preset files on the system, press “u” (lower-case). In
cannot be re-installed from the Options > Plug-Ins page must
the Update confirmation screen, press Shift+U (up-
be reinstalled from their installer discs.
per-case) to proceed. Follow the on-screen instructions to
Full System Restore Performing a full system restore com- begin installation.
pletely uninstalls system software before replacing it with new – or –
software. All data folders and files are removed. Be sure to • To fully restore the system (completely removing all files
transfer and archive needed data before performing a system on the system), press “r” (lower-case). (Or press P to re-
restore. Factory plug-in installers will be available automati- turn to the previous screen.) When the Restore confirma-
cally, as part of the system restore. All other plug-ins must be tion dialog appears, press Shift+R to proceed. Follow
re-installed from their installer discs. on-screen instructions to complete the system restore op-
eration.
A System Restore CD and CDs of any plug-in installers
should be kept with the system at all times. 7 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.

8 Remove the System Restore CD from the CD-ROM drive.

9 Re-install any plug-ins from their installer discs, as neces-

sary.

Before re-installing plug-ins after updating system soft-

ware, 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.

Chapter 28: Troubleshooting 241

 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 in-
stalled version.

If you cancel a full system restore or an update, you may ex-

perience 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 fac-
tory-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 im-
mediately after a system restore; other plug-ins must be com-
pletely re-installed.)

For instructions on re-installing plug-ins, see Chapter 18,

“Plug-Ins.”

242 VENUE Profile Guide

Part VII: Reference
Chapter 29: Control Surface Reference

This chapter describes the ports and connectors on the VENUE Profile console.

VENUE Profile Console

USB port Back Panel Connectors

Talkback

USB (2) and Headphones

Figure 20. VENUE Profile connectors

Top Panel USB Port Front USB Ports

A USB 1.1 port is provided on the top panel, in the upper left Two USB 1.1 ports are provided on the front of console. Use
corner of the console. Use this USB port for iLok Smart Keys or these ports to connect a USB keyboard and a Trackball (or
any other USB device such as a key disks. mouse). These ports also support iLoks and USB key disks.

For faster data transfer to and from USB storage devices, use
Headphone Connector
the USB 2.0 ports on the Mix Rack and FOH Rack.
The headphone connector on the front of the console is a
standard 1/4-inch stereo (TRS) headphone jack. The connec-
tor is fed by the Monitor bus.

Chapter 29: Control Surface Reference 245

 Back Panel

AC (2) VGA Footswitch 1 and 2

Console Light FOH Link USB Console Light

Power Switches (2) CAN GPI

Figure 21. D-Show Profile back panel

Power Switches
GPI (General Purpose Interface)
The Power switches apply power to the console using their
corresponding AC connectors.
GPI Input Specifications
Power Connectors A 25-pin, male D-Sub connector provides a total of 8 General
Purpose Interface (GPI) Inputs.
Two male, 3-pin IEC power sockets with cable retaining clips
are provided, one for each of the internal power supplies. Two • Inputs are logic inputs with pull-ups. They may be driven by
North American standard IEC power cables are provided with logic outputs or contact closure to ground.
each Profile console. • Input signal range is 0 to 5.5V. The inputs are ESD protected.
• Input signaling uses standard TTL logic levels: 0.8V or less
FOH Link for a logic low. 2.0V or greater for a logic high.
FOH Link connects Profile to the Mix Rack or FOH Rack. One • Inputs are compatible with 5V TTL (e.g. 74LS series), 5V
FOH Link cable is included with each FOH Rack. CMOS (e.g. 74HC series), 3.3V CMOS (e.g. 74LVC series)
• Inputs provide an internal 5K ohm pull-up to +5V.
VGA
• All Inputs are referenced to the same internal ground,
A single, female VGA connector is provided for driving a com- which is connected to AC safety ground.
patible video display (not included).

CAN Bus
This XLR3-M connector is not functional.

Footswitches

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 on-screen in the Options > Events page.

USB Port
A single USB 1.1 port is provided on the back panel for inter-
facing with iLoks, keyboards, pointing devices or key disks.

Console Lights
These two XLR3-F jacks connect to the included console
lights.

246 VENUE Profile Guide

GPI Input Connector Pin Assignments GPI Output Specifications
The D-Show Profile GPI Input is a male DB-25 connector. A 25-pin, female D-Sub connector provides a total of 8 Gen-
eral Purpose Interface (GPI) Outputs.
GPI Input Connector Pin Assignments
• Outputs are isolated, floating relay contacts (contact clo-
Pin Number Function Comments
sure).
1 Input 1 Logic level (TTL, CMOS)
• Switched voltage is 200V max; 0.5A max.
input with pullup
• Switched voltage with respect to safety/chassis ground is
2 Input 2 Logic level (TTL, CMOS) 300V max.
input with pullup

3 Input 3 Logic level (TTL, CMOS) The Profile GPI Outputs can switch 500 mA maximum.
input with pullup This applies even to short term current surges. This limit
can be exceeded when driving a capacitive or incandescent
4 Input 4 Logic level (TTL, CMOS) lamp load. An incandescent lamp may draw as much as
input with pullup
ten times its steady state current when first turned on.
5 Input 5 Logic level (TTL, CMOS) Therefore such lamps are typically not appropriate loads for
input with pullup the GPI Outputs, and should instead be controlled by a sec-
ondary relay.
6 Input 6 Logic level (TTL, CMOS)
input with pullup
GPI Output Power Specification
7 Input 7 Logic level (TTL, CMOS)
The GPI Output connector also provides +12VDC at up to 200
input with pullup
mA for powering external devices, such as relays or LEDs. The
8 Input 8 Logic level (TTL, CMOS) ground return that is provided is the D-Show Profile internal
input with pullup system ground, which is connected to AC safety ground.

14, 15, 16, 17, 18, Ground All ground pins are con-
19, 20, 21 nected together inter- GPI Output Ground Connections
nally
The GPI Outputs provided are isolated contact-closure style.
9, 10, 11, 12, 13, 22, Reserved Do not use Each GPI output is presented on a pair of pins (see “GPI
23, 24, 25 Output Connector Pin Assignments” on page 248). These two
pins represent the two sides of a switch that can be opened
Pinout for GPI Input Connector 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 2 3 4 5 6 7 8 9 10 11 12 13

14 15 16 17 18 19 20 21 22 23 24 25

Pinout for Profile DB25M GPI Input port (looking at back of console)

Chapter 29: Control Surface Reference 247

 GPI Output Connector Pin Assignments
GPI Wiring Diagrams
The D-Show Profile GPI Output is a female DB-25 connector.
:
The following diagrams provide examples of GPI pinout and
GPI Output Connector Pin Assignments wiring for the common uses. All diagrams are shown from the
Pin Number Function Comments rear (solder side) of the DB25 connector.

1, 14 Output 1 Floating contact closure out-

put GPI Input Examples
2, 15 Output 2 Floating contact closure out- The following diagrams provide simplified wiring examples
put for a customer-provided DB25 female connector, to attach to
3, 16 Output 3 Floating contact closure out- the male GPI In connector on D-Show Profile.
put
Wiring a Switch to Drive GPI
4, 17 Output 4 Floating contact closure out-
put

5, 18 Output 5 Floating contact closure out- DB25F

put 1

6, 19 Output 6 Floating contact closure out- 14

put

7, 20 Output 7 Floating contact closure out- No ground reference needed

put between systems.

8, 21 Output 8 Floating contact closure out-

put

12, 13, 24, +12V auxiliary Maximum total load 200 mA

25 power All +12V pins are connected
together internally

9, 10, 22, Ground for auxil- All ground pins are con-
23 iary power nected together internally

11 Reserved Do not use

DB25F Pinout

Wiring a Relay to Drive GPI

13 12 11 10 9 8 7 6 5 4 3 2 1 X.X

DB25F
1

14

25 24 23 22 21 20 19 18 17 16 15 14

Pinout for Profile DB25F GPI Output port (looking at back of console) No ground reference needed
between systems.

248 VENUE Profile Guide

Wiring a Logic Signal to Drive GPI GPI Output Driving and Powering an LED

DB25F 1 DB25M 1

14 14

Ground reference needed

between systems.
Connect one side of the
relay to Ground.

24

GPI Output Examples GPI Output Driving an Externally Powered LED

The following diagrams depict wiring examples for a cus-
tomer-provided DB25 male connector, to connect to the fe-
male GPI Output connector on D-Show Profile. DB25M 1

14
GPI Output Driving a Relay to Illuminate a Light

1
DB25M
14
External – +
Power
Supply
External
Power
Supply

No ground reference needed

between systems.

24

Chapter 29: Control Surface Reference 249

 GPI Output Driving a Logic Input

V+

DB25M 1

14

Ground reference needed

between systems.

GPI Output Driving a Relay Using an External Power

Supply

DB25M 1

14

External
Power
Supply

250 VENUE Profile Guide

Chapter 30: ECx

VENUE Profile systems include ECx Ethernet Control. ECx lets

you control a VENUE system remotely over an Ethernet net- Installing ECx Host Software
work, using compatible wired or wireless network equipment
The ECx host software enables your VENUE system to com-
(purchased separately).
municate 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 com- If you need to uninstall the ECx host software from your
puter, including a laptop or Tablet PC VENUE system, see “Uninstalling ECx Host Software” on
• Exact duplication of VENUE software on the remote cli- page 252.
ent computer
If you need to re-install the ECx host software, (after a System
Restore or an Update), see “Reinstalling ECx Host Software”
on page 252.
ECx Components
After you install the host and client software, see “Overview of
The ECx components of your VENUE system include the fol- ECx Setup and Configuration” on page 253 for information
lowing items: on setting up your VENUE system and client computer for re-
• ECx Control (pre-installed) mote operation using ECx.
• Ethernet cable for connecting the ECx card to your client
computer, wireless router, or wireless access point device
Installing ECx Host Software
• ECx Ethernet Control Software installer CD-ROM (con-
taining ECx host and client 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.
System Requirements
The following are required to use ECx with your VENUE sys- To install ECx host software on your VENUE system:
tem: 1 Insert the ECx installer disc in the system CD-ROM drive.
• A -qualified router or wireless access point (WAP) device 2 Do one of the following to put your system into Config
• A client computer running -qualified Windows or Mac OS X Mode:
software with wired or wireless Ethernet capability. • Press the Console Config switch on the console.
• For wireless communication with ECx, 802.11g capable de- – or –
vices are recommended. • Double-click the Mode box in the bottom-right corner of
the screen.
Avid can only assure compatibility and provide support for
hardware and software it has tested and approved. 3 Go to Options > System page and click Update.

For complete system requirements and a list of -qualified com- 4 Click Yes to exit VENUE software and begin the installation.
puters, operating systems, and wireless devices, refer to the lat-
5 After the installation is complete, the system restarts.
est compatibility information on our website:
www.avid.com/compatibility 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 252.

Chapter 30: ECx 251

 Installing the ECx Client Software Reinstalling ECx Host Software
The ECx Ethernet Control Software installer CD-ROM con- If ECx is installed on your VENUE system, you will have to re-
tains remote control applications for both Windows and Mac. install the ECx host software after performing a System Re-
store or an Update.
Installing the ECx Client in Windows
System Restore If you perform a complete System Restore, the
ECx host software must be reinstalled from its original in-
To install the ECx Control client application (“UltraVNC”) in
Windows: staller disc. See “Installing ECx Host Software” on page 251.

1 Insert the ECx installer disc in the computer CD or DVD Update If you perform an Update, you must still reinstall the
drive. ECx host software. You can reinstall without using the ECx in-
staller disc because an Update leaves the ECx installer on your
2 Open the Windows Client folder.
VENUE system’s hard drive. You can also reinstall using the
3 Double-click the “UltraVNC-Viewer.exe” file. original installer disc.

4 Follow the on-screen installation instructions to complete

To reinstall after an Update without using the ECx installer disc:
the installation.
1 Remove any USB key disks from all USB ports, and make

Installing the ECx Client on Mac sure no installer discs are in the CD-ROM drive.

2 Do one of the following to put your system into Config

To install the ECx Control client application (“Chicken of the Mode:
VNC”) on Mac:
• Press the Console Config switch on the console.
1 Insert the ECx installer disc in the computer CD or DVD
– or –
drive.
• Double-click the Mode box in the bottom-right corner of
2 Open the Mac OS X Client folder. the screen.
3 Double-click the “cotvnc-20b4.dmg” file. 3 Go to the Options > Systems page.

4 In the window that opens, drag the “Chicken of the VNC”

Click the Update button.
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 sys-
tem, 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.

2 Go to Options > System.

3 Hold the Control key and click Shut Down to go to the sys-
tem desktop.

4 Locate and double-click the ECx host software uninstall pro-

gram (C:\Program Files\D-Show Ethernet Control Software\
Uninstall.bat).

The ECx host software is uninstalled, and the software auto-

matically restarts.

The ECx folder will remain on your VENUE system hard

drive after uninstalling,

252 VENUE Profile Guide

Overview of ECx Setup and Connecting a Wireless Router or WAP
Configuration to VENUE
You can control your VENUE system (the “host”) with a re- VENUE systems work with standard wireless routers or WAP
mote computer (the “client”) using standard VNC (Virtual devices.
Network Computing) protocol over TCP/IP, allowing remote
access to your system via a wired or wireless Ethernet-based Before connecting a wireless router or WAP device, you should
network. This chapter covers the steps for configuring and us- configure the SSID of the device so that its wireless network
ing ECx. can be easily identified on the client computer. You can spec-
ify any unique network name for the device, such as “VENUE
For a wired network, the steps include: Network.”
 Connecting the remote computer directly to your VENUE To configure the SSID and any network security features of
system using an Ethernet cable. your wireless router or WAP, refer to the manufacturer’s in-
 Setting the IP addresses of your VENUE system and your cli- structions.
ent computer manually.
 Enabling remote operation of your VENUE system. To connect a wireless router or WAP device to your VENUE
system:
For a wireless network, the steps include: 1 Connect one end of the appropriate type of Ethernet cable
 Connecting a wireless router or a wireless access point to the ECx port and the other end to the Ethernet connector
(WAP) device to your VENUE system. port on the router or WAP. Do one of the following depending
on the type of device you are using
 Setting the IP addresses of your VENUE system and your cli-
ent computer manually or automatically. • If you are using a wireless router, use a standard Ethernet
cable to your VENUE system.
 Establishing a connection between your wireless router and
the client computer. – or –
• If you are using a WAP, use an Ethernet crossover cable to
 Enabling remote operation of your VENUE system.
connect to your VENUE system.

2 Do one of the following:

Connecting a Computer Directly to • If you are using a wireless router or WAP device that does
not include a DHCP server function (such as the Cisco Ai-
VENUE
ronet 1230AG), you must configure your VENUE system
If you are establishing a fixed remote control station and do and the client computer IP addresses manually. See “Set-
not need a mobile connection, you can connect the remote ting VENUE and Client IP Addresses Manually” on
computer directly to your VENUE system using an Ethernet page 254.
cable.
– or –
• If you are using a wireless router that includes a DHCP
To connect a computer directly to your VENUE system:
server function (such as the Belkin Pre-N), you can con-
1 Connect one end of the appropriate Ethernet cable type figure your VENUE system and the client computer to set
(with RJ-45 connectors) to the ECx port on your VENUE sys- the IP addresses automatically. See “Setting VENUE and
tem, and the other end to the Ethernet port on the computer. Client IP Addresses Automatically” on page 255.
The type of cable depends on the operating system of the re-
mote computer:

Windows To connect a Windows computer directly to your

VENUE system, an Ethernet crossover cable is required. Alter-
natively, 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 sys-

tem, you can use either a standard Ethernet cable or an Ether-
net crossover cable.

2 Configure the VENUE system and the client computer IP ad-

dresses manually. See “Setting VENUE and Client IP Addresses
Manually” on page 254.

Chapter 30: ECx 253

 3 Select Use the Following Address and enter the following:
Setting VENUE and Client IP Addresses • IP address: 10.0.0.1
You can set the IP addresses of your VENUE system and client • Subnet Mask: 255.255.255.0
computer manually or automatically. Do one of the following • Default Gateway: 10.0.0.1
depending on the configuration of your network:
 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 254.
– or –
 If you are using a wireless router that includes a DHCP
server function, see “Setting VENUE and Client IP Addresses Setting an IP address manually
Automatically” on page 255. 4 Click Apply.

IP configuration changes on your VENUE system and client 5 Select Enable Remote Control to activate the VENUE ECx
computer can take up to 2 minutes to become effective. Af- host.
ter making changes, be sure to allow sufficient time for the
6 Go to “Setting the Client Computer IP Address Manually”
system to assign IP addresses and establish communication
on page 254.
between all the components.

If network communication is not established after allowing Setting the Client Computer IP Address Manually
sufficient time for IP addressing, then you can verify that
After manually setting your VENUE system’s IP address, you
you are using the correct cable types, have correctly con-
need to set your client computer’s IP address.
nected the system, and have working cables.

To manually set the IP address in Windows:

Setting VENUE and Client IP Addresses
Manually 1 Go to Control Panels > Network Connections.

2 In the Network Connections window, do one of the follow-

Set VENUE and client computer IP addresses manually if you
are connecting a computer directly to your VENUE system, or ing:
you are using a wireless router or WAP device that does not in- • If you are connecting the computer directly to your
clude a DHCP server function. VENUE system, right-click the Local Area Connection
icon and choose Properties.
Setting a VENUE System IP Address Manually – or –
• If you are connecting using a wireless router or WAP,
To manually set the IP address for your VENUE system: right-click the Wireless Network Connection icon and
1 In the VENUE software, go to the Options page and click the choose Properties.
Interaction tab. 3 In the Connection Properties window, double-click Internet
2 Under Ethernet Control, click Network Settings. Protocol (TCP/IP).

Ethernet Control section of the Interaction page

Local Area Connection Properties window

254 VENUE Profile Guide

4 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
• Default Gateway: (none required)

Network Preferences window

5 Click Apply.

6 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 257.

Internet Protocol Properties window – or –

• If you are using a wired network, go to “Enabling Remote
5 Click OK to close the Internet Protocol properties window.
Operation” on page 258.
6 Click OK to close the Network Connection Properties win-
dow.
Setting VENUE and Client IP Addresses
7 Do one of the following depending on the configuration of Automatically
your network:
You can configure your VENUE System and client computer to
• If you are using a wireless network, go to “Establishing a
set their IP addresses automatically using DHCP. Set the IP au-
Wireless Connection” on page 257.
tomatically if you are using a wireless router that includes a
– or – DHCP server function.
• If you are using a wired network, go to “Enabling Remote
Operation” on page 258. Setting the VENUE IP Address Automatically

To manually set the IP address on a Mac: To set the IP address of your VENUE system automatically:
1 Launch System Preferences > Network. 1 In the VENUE software, go to the Options page and click the
Interaction tab.
2 Do one of the following:
• If you are connecting the computer directly to your 2 Under Ethernet Control, click Network Settings.
VENUE system, choose Ethernet from the network con-
nections services list.
– or –
• If you are connecting using a wireless router or WAP,
choose Airport from the network connections services
list.

3 Choose Manually from the Configure menu.

Ethernet Control section of the Interaction page
4 Enter the following:
• IP address: 10.0.0.2
• Subnet Mask: 255.255.255.0
• Router: (none required)

Chapter 30: ECx 255

 3 Select Obtain Address Automatically. 3 In the Connection Properties window, double-click Internet
Protocol (TCP/IP).

Configuring Ethernet Control in VENUE

4 Click Apply.

5 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.

Make a note of the IP address assigned to your VENUE sys-

tem, as you will need to enter it into the client software.

6 Select Enable Remote Control to activate the VENUE System

ECx host. Your system’s status will be displayed as “Waiting
for connection.”

7 Go to “Setting a Client Computer IP Address Automatically” Connection Properties window

on page 256.
4 In the Internet Protocol Properties window, select “Obtain
an Address Automatically.”
Setting a Client Computer IP Address
Automatically
After setting the IP address for your VENUE system using
DHCP, you need to do the same for your client computer.

To automatically set the IP address in Windows:

1 Go to Control Panel > Network Connections.

2 Right-click the Wireless Network Connection icon and

choose Properties.

Internet Protocol (TCP/IP) Properties window

5 Click OK to close the Internet Protocol properties window.

6 Click OK to close the Network Connection Properties win-

dow.

7 Go to “Enabling Remote Operation” on page 258.

256 VENUE Profile Guide

To automatically set the IP address on a Mac: 3 In the Connection Properties window, click the Wireless
Networks tab.
1 Launch System Preferences > Network.

2 Choose Airport from the network connections services list.

3 Click the Advanced button, then click the TCP/IP tab.

4 Choose Using DHCP from the Configure IPv4 menu.

Configuring a wireless connection in Windows

4 Under Preferred Networks, click Add, and type the SSID of

Airport Network Advanced window the wireless router or WAP device connected to your VENUE
5 Click OK.
system.

5 Choose the Network Authentication and Data Encryption

6 Go to “Enabling Remote Operation” on page 258.
settings to match the corresponding router or WAP configura-
tion settings.

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.

2 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 avail-
able wireless networks.

7 Go to “Enabling Remote Operation” on page 258.

Chapter 30: ECx 257

 To establish a wireless connection on Mac:
1 Go to System Preferences > Network.
Enabling Remote Operation
In order to enable remote operation of your VENUE system,
2 Choose Airport from the network connections services list.
you need to have obtained valid IP addresses for your VENUE
3 From the Network Name pop-up menu, choose your net- system and your client computer. If you are using a wireless
work. 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:

1 Double-click the “ECx Ethernet Control (UltraVNC
Viewer)” icon on your desktop (or go to Start Menu > Pro-
grams > UltraVNC > Run UltraVNC Viewer) to launch the Ul-
traVNC Viewer application.

2 Enter the IP address of the ECx host (your VENUE system).

3 Click Connect.

4 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 wire-
less router or WAP device a network name, see your device’s
documentation.

4 Go to “Enabling Remote Operation” on page 258.

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.

258 VENUE Profile 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).

3 Enter the password (VENUE’s default password is “pass-

word”) 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:
1 Close the ECx client application by doing one of the follow-
ing:
• 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.

2 On the VENUE system, deselect Enable in the Ethernet Con-

trol 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:

1 In the Ethernet Control section of the Options > Interaction
page, double-click the Password field.

2 Enter a new password and press Enter.

Make a note of the new password and your system’s IP ad-

dress, as you will need to enter it into the client software.

Chapter 30: ECx 259

Appendix A: Compliance Information

Environmental Compliance EMC (Electromagnetic Compliance)

Avid declares that this product complies with the following standards regulating
Disposal of Waste Equipment by Users in the emissions and immunity:
• FCC Part 15 Class B
European Union • EN55103-1 E3
• EN55103-2 E3
• AS/NZS CISPR Class B
• CISPR 22 Class B

FCC Compliance for United States

Radio and Television Interference

This symbol on the product or its packaging indicates that this product must not This equipment has been tested and found to comply with the limits for a Class B
be disposed of with other waste. Instead, it is your responsibility to dispose of digital device, pursuant to Part 15 of the FCC Rules.
your waste equipment by handing it over to a designated collection point for the
recycling of waste electrical and electronic equipment. The separate collection DECLARATION OF CONFORMITY
and recycling of your waste equipment at the time of disposal will help conserve We, Avid, 2001 Junipero Serra Boulevard
natural resources and ensure that it is recycled in a manner that protects human Daly City, CA 94014-3886, USA
health and the environment. For more information about where you can drop off 650-731-6300
your waste equipment for recycling, please contact your local city recycling office declare under our sole responsibility that the product
or the dealer from whom you purchased the product. VENUE Profile
complies with Part 15 of FCC Rules.
Operation is subject to the following two conditions:
Proposition 65 Warning (1) this device may not cause harmful interference, and
(2) this device must accept any interference received,
including interference that may cause undesired operation.
This product contains chemicals, including lead,
known to the State of California to cause cancer and
birth defects or other reproductive harm. Wash hands
Communication Statement
after handling. NOTE: This equipment has been tested and found to comply
with the limits for a Class B digital device, pursuant to Part
Perchlorate Notice 15 of the FCC Rules. These limits are designed to provide
reasonable protection against harmful interference in a
This product may contain a lithium coin battery. The State of California requires residential installation. This equipment generates, uses,
the following disclosure statement: “Perchlorate Material – special handling may and can radiate radio frequency energy and, if not installed
apply, See www.dtsc.ca.gov/hazardouswaste/perchlorate.” 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
Recycling Notice 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

Avid

Appendix A: Compliance Information 261

 Canadian Compliance
13) Unplug this equipment during lightning storms or when unused for long
This Class B digital apparatus meets all requirements of the Canadian periods of time.
Interference-Causing Equipment Regulations.
14) Refer all servicing to qualified service personnel. Servicing is required when
Cet appareil numérique de la classe B respecte toutes les exigences du
the equipment has been damaged in any way, such as power-supply cord or plug
Règlement sur le matériel brouilleur du Canada.
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,
CE Compliance or has been dropped.

(EMC and Safety) 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.

16) For products containing a lithium battery:

Avid is authorized to apply the CE (Conformité Europénne) mark on this compliant CAUTION! Danger of explosion if battery is incorrectly replaced. Replace only
equipment thereby declaring conformity to EMC Directive 2004/108/EC and Low with the same or equivalent type.
Voltage Directive 2006/95/EC.
17) For products with a power switch:
The main power switch is located on the back panel of the VENUE Profile. It
should remain accessible after installation.

Safety Compliance 18) The equipment shall be used at a maximum ambient temperature of 40° C.

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

Important Safety Instructions

1) Read these instructions.

2) Keep these instructions.

3) Heed all warnings.

4) Follow all instructions.

5) Do not use this equipment near water.

6) Clean only with dry cloth.

7) Do not block any ventilation openings. Install in accordance with the

manufacturer’s instructions.

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

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.

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.

262 VENUE Profile Guide

Index

Numerics bypass
0 dBVU 165 EQ in out 143
1–8 (Bus LED) 31 bypassing plug-ins 158
2-Track 63
48V 76 C
C/M
A LED 31
A Unit has gone Offline 240 Cancel 37
Absolute (editing snapshots) 190 CD-ROM
ACS using for Transfer and Filing 225
target and channel Select switch 33 Center Last Recalled Snapshot 182
targeting options 64 Change Target By 64
ACS (Assignable Channel Section) 34 channel
Actions 205 reset shortcut 51
creating 209 Channel Name 33, 65
list 216 channel number (plug-in rack routing) 158
ADAT 112 CHANNEL SAFE 186
Add (or Update) this plug-in to Snapshot 165 Channel Safe 186
AES 112 channels
AFL 119 banking 45
AFL Follows Auxes/Variable Groups 120 configuring number of 58
All (snapshots) 179 copy and paste 51
AND (Event List) 208 in the Patchbay 111
assembling the mount 11 moving 52
Assignable Channel Section (ACS) 34 selecting 48
attack type text search 49
compressor/limiter 135 Chase MTC 181
expander/gate 136 Clear 178
automation 184 Clear Console
and Channel Safe 186 during reset 239
see Snapshots clip
Automation Safe 65 Hidden Bank Clip 30
auto-save and History 176 Hidden Bank LED 116
Aux Hold 118
banking 48 Margin 118
busses 95 clock
configuring busses and Groups 80 system date and time 63
display in Input LCD 33 clock (tempo) 64
level and pan via Flip to Faders 98 clock (word) 25
Aux Sends colors in rack slots 157
snapshot as monitor, or as effects sends 200 Comp/Lim 137
Auxes compatibility 8
up to 24 (Var Groups) 95 compressor
Auxes/Variable Groups Follow AFL 120 side-chain 139
Compressor Threshold 33
compressor/limiter
B adjusting 136
backup attack 135
and History 176 comp knee 135
CD-ROM 241 defaults 136
Balance 70 Dynamics Graph 138
balance (when pasting) 51 gain reduction meters 135
ballistics for meters 65, 118 make-up gain 135
bandwidth ratio 135
EQ 144 release 135
Bank A–D 45 threshold 135
Bank Safe 46 Config Mode 40
banking 45, 48 and plug-ins 151
Group Spill 90 Console 40
outputs 48 Console Mode switch 40
banner display 39 contact closure 247
bell or shelf EQ 144 Control Surface Change 237
Blank Strip 52 copy and paste
blue (snapshot) 181 channel settings 51
built-in dynamics settings 139
compressor 135 EQ settings 148
expander 135 copying
gate 135 plug-ins 159
limiter 135 Create new snapshot containing this plug-in 165
bus assignment indicators 31 crossfade (snapshots) 198
bus processors Cue on Mains Fader 124
assigning plug-ins 160 cursor 64
busses
linked Matrix stereo 103
Busses page 60

Index 263
 D Wait 210
Date & Time Check 237 window 204
date and time 63 Exp/Gate 137
dBVU, dBu, dBFS 165 expander
DC (GPI Output) 247 side-chain 139
Default 41 expander/gate
defaults adjusting 136
compressor/limiter 136 attack 136
delay gain reduction meters 136
compensation 85 gate range 136
input channel built-in 77 release 136
mains (house) 85 threshold 136
Monitor bus 60, 124 Expert Mode 93
delay (Event List Wait) 210
Delay Compensation 61 F
Delete (snapshots) 178 faders
Devices page 59 and Group Spill 90
Digital/Analog EQ 143 Flip 33
DigiTest 239 Flip for Send level and pan 98
Dim reset shortcut 51
Talkback dim 63 FDMI 11
Direct Outs feedback 211
from output busses 85 Filing
routing to plug-ins 161 History 176
Disable loading Shows 172
snapshots 178 Presets and Scope Sets 173
divergence 85 Show files 172
Dly (channel Delay in snapshots) 201 Show Folders 171
DSI card (Digital Stage Input) 24 filtering with Recall Safe 184
DSO card (Digital Stage Output) 24 Fine 42
DSP momentary or latching 42
plug-in allocation tips 58 firmware 242
plug-ins 165 Flip 33
Duplicate 178 Send level and pan 98
Dyn Pre-EQ 138, 146 Footswitch Status (Events) 205
dynamics formats (plug-ins) 159
adjusting 136 Function switches 131
and plug-ins 138 Function switches (F1, F2, F3, F4) 37
built-in 72 FX Returns
bypassing 137 and plug-ins 160
comp/lim 136 banking 45
Dynamics Graph 138 channel controls 30
presets for built-in 139 configuring 58
settings and presets 139
side-chain 139
G
E gain
and multiple input routing 112
ECx 251 Guess 32
installing software 251 setting 32
Edit (System Config) 57 gate
Edit mode 190 key source 140
EQ range for expander/gate 136
adjusting 144 side-chain 139
and plug-ins 146 Gate Threshold 33
bell or shelf 144 General Purpose Interface (see GPI)
built-in HPF 143 global modifiers 41
built-in parametric 143 GPI
bypass via Input Direct mode 138, 146 Input pinouts 247
digital/analog 143 input specifications 246
Dyn Pre-EQ 138, 146 Output pinouts 248
GEQ 83 output specifications 247
in out 143 pulse and duration 210
parametric 143 Status display (Events) 205
ranges of controls 149 wiring diagrams 248
settings and presets 148 Graphic EQs 83
ethernet (see ECx) 251 configuring 58, 147
Events green (snapshot) 181
actions 205 ground (GPI outputs) 247
and Preview mode 194 Groups
and Snapshot modes 211 and Variable Groups 80
and snapshots 211 banking 48
behavior 210 spill 90
creating actions 209 using 89
creating triggers 208 Variable Groups 95
creating, selecting, managing 206 Guess (gain) 32
defaults 212
enabling and disabling 207
Event List 204 H
list of action types and properties 216 hard knee 135
list of trigger types and properties 215 hardware
reset 210 display of unavailable 110
terminology 203 headphones
testing 210 level 123
triggers 205 hexadecimal 195

264 VENUE Profile Guide

Hidden Bank Clip 116 logic (GPI) 246
hidden bank clip 30 LR
high-pass filter 143 LED 31
History 176
house (Mains)
mute 129
M
HPF 33, 76 MADI 6
Main 58
Mains
I configuring 58
I/O input routing 71
unavailable 110 linking 84
iLok 153 maintenance
USB ports 153 system restore 241
In/Out Make Stereo 69
EQ 143 and Blank Strips 52
Input Channels 69 Make Stereo/Mono
Input Delay 33 shortcut 52
Input Direct mode 78, 138, 146 make-up gain
Input Gain 33 compressor/limiter 135
Input Pan 33 Markers (Pro Tools) and snapshots 196
Input Safe Switches Matrix
changing modes via an Event 212 and snapshots 107
inputs banking 48
20 dB pad 76 controls 106
analog 20 input configuration 103
assigning Patchbay routing 70 linked stereo 103
assigning to VCAs 72 linking and unlinking inputs 104
automation safe 187 user inputs 105
built-in dynamics 72 Matrix and PQ Sources 103
built-in EQ 72 metering 115
channel controls 30 ACS 116
connecting digital 25 ballistics and options 118
faders 77 channel meters 115
HPF 76 Hidden Bank Clip 116
Input Channels and FX Returns 69 output meter settings 117
input channels and FX returns 30 outputs 117
Input Direct mode 78, 138, 146 Selected Channel 116
make stereo 69 solo 117
mute 77 MIDI
naming 70 adding to snapshots 195
pan 76 and Recall Safe 185
phantom power 76 in Preview mode 194
polarity (phase) 77 output Safe 196
routing to Auxes 71 MIDI Snapshot Output Safe 222
routing to Mains and Groups 71 Misc page 63
Safe 77 Mix (Recall Safe parameters) 187
solo 77 Mix Engines 58
width 76 modes (Config versus Show) 40
Insert Blank Strip 52 Mon (Aux sends and Variable Groups) 200
Insert Mode 162 Monitor
insert number (plug-in rack routing) 158 assignable output 122
inserts Bus Delay 60
assigning plug-ins 160 Delay 124
on outputs 82 level 123
Installed Plug-Ins 151 on Mains fader 124
Interaction page 64 monitor mixing 112
invert output phase 83 More Options (during resume) 239
mouse settings 64
Move Selected Strip Here 52
K moving plug-ins 159
key assign 140 MTC
key listen 140 chase 181
key source 140 configuring options 62
knee Events and Preview mode 194
hard or soft 135 in Preview mode 194
knobs Multi 41
rotary and switch functionality 32 Multi-Assign 49
Multi-Select 41
L Mute
channels, Mute Groups and VCAs 130
Latch (Event action behavior) 210
Groups 129
LCDs
input channels 77
options 65
Mains (house) 129
LCR 58
outputs 84, 129
levels
plug-ins 165
limiter N
adjusting 136 name (channel display) 33
defaults 136 naming channels 70
side-chain 139 navigating 45
linked Matrixes 103 near-field levels 123
linking New 178
screen and console 39, 64 next (snapshot) 180
Lock (System Lock) 40 None (snapshots) 179
locking snapshots 188 Notes (snapshots) 183

Index 265
 O Dir Out pickoffs 161
offset display options 162
Right Offset 76 display unavailable and inactive 157
On (Recall Safe) 185 enabling and disabling 154
One or More Units have Failed 236 EQ 146
operating modes 40 in Preview mode 193
Options 57 in/out (bypass) 158
Busses 60 Insert Mode views 162
Devices 59 list and menu management 154
Interaction 64 managing 154
Misc 63 mono, stereo, other 159
Pickoffs 61 moving and copying 159
Plug-Ins 151 on outputs 82
Snapshots 62 on the control surface 161
System (configuration) 57 on-screen 163
viewing angle 65 pinning a view 164
OR (Event List) 208 preset files 164
oscillator 128 rack slots 157, 158
settings 63 racks 156
Other 159 re-initializing the racks 239
Output encoders routing to and from 160
and plug-ins 162 snapshot indication (red) 158
outputs Source switch 162
analog 20 targeting 162
and mute 129 Use Racks 239
automation safe 187 views 156
Auxes 79 Plug-ins to Install 151
banking 48 polarity (input) 77
configuring 79 polarity (output) 83
delay 85 power
divergence 85 start up/shut down guidelines 23
graphic EQ 83 Power Supply Alert 237
Groups 79 PQ
Mains 79 and snapshots 107
Matrix 80 banking 48
metering 117 controls 106
mute 84 input configuration 103
PQ Personal Q 80 linking and unlinking inputs 104
reassigning in Patchbay 113 user inputs 105
routing 80 Pre (snapshot parameters) 200
using inserts 82 presets
Variable Groups 79 dynamics 139
EQ 148
folders 173
P for built-in dynamics 139
pad 76 managing 174
padlock (snapshots) 188 plug-ins 164
Pan 76 Scope Sets 187
pan transferring 175
divergence 85 Preview mode 191
see also Width 76 and plug-ins 193
snapshot crossfade 62 and Undo 192
when pasting 51 capabilities and overview 192
Pan, Balance & Width 198 MIDI and MTC 194
panning previous (snapshot) 180
3-across-the-front 58 Propagate mode 191
parameters 107 Pulse and Duration (GPI) 210
parametric EQ 143 Push-Pin (plug-in view) 164
Patchbay
displays and indicators 110 Q
navigating 111
overview 109 Q 144
route multiple via click and drag 111
source and destination display 110 R
warning when reassigning 113 rack slots 156
Patching Grid 110 racks 156, 239
Peak Hold 118 ratio
Peak mode (metering) 118 compressor/limiter 135
Personal Q 108 Ready to Resume 238
PFL 119 Recall 178, 183
phantom power 76 Next 181
phase (output) 83 Previous 181
pickoffs 61 Safe 184
Dir Outs to plug-ins 161 Recall Safe 184
Matrix and PQ 103 and MIDI 185
Plug-In Racks are Ready 239 and plug-ins 185
Plug-In Racks Need Reset 239 and Preview mode 193
plug-ins 151 CHANNEL SAFE 186
allocating DSP 58 Matrix and PQ 187
and channel Direct Outs 161 turning on and off 185
and Recall Safe 185 using 186
and snapshots 164 recovery 239
and standalone software 223 red (snapshot) 181
assigning to rack slots 159 red plug-in rack 158
Config and Show mode 151 registration 8

266 VENUE Profile Guide

Relative (editing snapshots) 190 color indication in List 181
release creating 182
compressor/limiter 135 crossfade 198
expander/gate 136 data type buttons 178
remote control (ECx) 251 Delete 178
Remove this plug-in in Snapshot 165 Disable 178
reset 238 Duplicate 178
Reset (strip) 51 Edit mode 190
reset a section or parameter 41 Events and Preview mode 194
Reset Fader 51 faders 179
Reset Mix Engines 239 from the console 180
resolution (see Fine) in Preview mode 192
restart 238 keyboard shortcuts 181
restore (software) 241 List 178
Resume Operations 238 list of data types and parameters 201
right-click shortcuts 51 locking and unlocking 188
RMS mode 118 managing (storing, clearing, deleting, moving, duplicating) 188
rotary encoders MIDI and plug-ins in Preview mode 192
rotary and switch functionality 32 naming and renaming 183
routing New 178
assigning channels in the Patchbay 111 Next 180
channel bus indicators 31 None 179
Monitor bus 122 notes 183
multiple D-Show channels to a hardware output 112 overview 177
pan crossfade 62
plug-in menu 164
S plug-in scope indication 158
Safe Preview (editing and previewing snapshots) 191
Automation 65 Preview mode F key 131
Recall Safe 184 Previous 180
Solo 65 Propagate mode (updating snapshot parameters) 191
using channel automation safe 187 Recall 178
Safe All 187 Recall Safe 184
Safe Selected 187 recalling 183
Sample rate conversion 24 safe filter (Recall Safe) 186
sample rate conversion 25 Scope Sets 187
save (History auto-save) 176 selecting 181
Scope Sets Store 178
transferring 175 target 183
using 187 type text search 49
security (System Lock) 40 Snapshots containing this plug-in 164
Select Snapshots page 62
channel switch 33 soft knee 135
Selected Chan software
options 64 overview of pages and tabs 43
selecting channels 48 standalone 223
settings system restore 241
dynamics 139 updating 241
EQ 148 Solo
plug-ins 164 AFL, PFL, SIP modes 119
shelf or bell EQ 144 and key listen 140
shortcuts 41 Cue on Mains Fader 124
right-click 51 input channels 77
Snapshots 181 metering 117
Show files 171 on-screen settings 61
creating 171 solo safe 121
deleting 171 Solo Safe 65
Folders 171 Source 33, 162
loading 172 spill
transferring 175 Groups 90
Show Folder 171 VCAs 88
Show Mode 40 Stage Rack
Shows enabling 2 24
and plug-in management while loading 154 standalone software 223
side-chain 139 and plug-ins 223
assigning for plug-ins 161 export System Info 113
assigning source (gate only) 140 installing and removing 223
signal routing system requirements 223
display in Patchbay 110 stereo
inputs 70 spread (Bal/Width) 70
Simple Mode 93 stereo channels (see Make Stereo) 69
SIP 119 stereo plug-ins 159
Snapshots Store 178
adding MIDI messages 195 sync
adding plug-in data 197 plug-in tempo 64
adding tempo 196 synchronizing digital sources 25
All 179 System 57
and Channel Safe 186 system clock 63
and Pro Tools markers 196 System Config 57
Center Last Recalled in list 182 System Lock 40
Channel Safe 186 system requirements 8
channel scope 178 System Update and Restore CD 241
chase MTC 181
classifying Auxes and Var Groups 200
Clear 178

Index 267
 T
takeover from backup mode 238
Talkback
dim level 63
Tap Tempo 64, 217
target
channel Select switch 33
channels 48
plug-in 162
Targeting Changes View Mode 64
tempo
snapshots 196
threshold
compressor/limiter 135
Expander/Gate 136
time of day 63
Tool Tips 39
Trackball
settings for 64
Trackball Mount 12
transfer 175
Triggers 205
creating 208
list 215
troubleshooting
plug-ins 154
restore and replace all software 241
Type Text search 49

U
Undo
in Preview mode 192
via History 176
Update this plug-in in Snapshot 165
updating VENUE software 241
USB
ports for iLoks 153
Use Racks 239
User 42
User Inputs (Matrix/PQ) 105

V
Variable Groups 95
level and pan via Flip to Faders 98
snapshot as monitor, or as effects sends 200
VCAs
and snapshots 201
assigning 86
banking 48
mute 129
spill 88
using 87
VENUE
Standalone software 223
VENUE Link 196
VESA 11
VGA monitor 11
Video Monitor Mount 11
voltage 7

W
Wait (Event List) 210
While Active (Event action behavior) 210
Width 76
width (when pasting) 51
wireless (ECx) 251
word clock 25

X
XOR (Event List) 208

Y
yellow (snapshot) 181

Z
zero
see Clear Console

268 VENUE Profile Guide

Avid Technical Support (USA) Product Information
2001 Junipero Serra Boulevard Visit the Online Support Center at For company and product informat
Daly City, CA 94014-3886 USA www.avid.com/support visit us on the web at www.avid.co