Avid’s VENUE 7.2 Audio Software Gives Live Sound Engineers Greater Command of Their Shows

Continuing its commitment to providing live sound mixing engineers with technology innovation that propels stage performances to greater heights, Avid^® (Nasdaq: AVID) today announced the availability of its Avid VENUE™ 7.2 software update. The latest advancements in VENUE 7.2 allow more routing capabilities for the Avid VENUE | S6L mixing console, allowing through command of a live mix at scale. This summer, millions of music fans around the world are hearing S6L on some of the most demanding live tours.

Avid VENUE | S6L users can now seamlessly patch any input source from anywhere on the VENUE | S6L platform or connected network – to any input channel, with fully Automatic Delay Compensation, giving engineers unlimited patching flexibility.  

The advanced and flexible routing capabilities in VENUE 7.2 include input channels that can be routed directly from six different pickoff points: 

·      Top of channel allows users to get the signal at the raw source – straight from the analog mic pre. 

·      The True Gain pickoff point ensures consistent gain structure for engineers when sharing the mic pre across multiple systems, regardless of their role in setup. In IO sharing scenarios without ownership of the analog mic pre, the True Gain pickoff provides seamless real-time compensation for any analog gain stage changes.

·      Pre-EQ, Insert Return, Pre-Fader Post-Mute and Post Fader allow users to choose which level of processing is applied for the duplicated input. 

In addition to these internal processing paths, users also have direct access to any physical source on the VENUE | S6L platform, such as stage and local inputs, and sources from any MADI-192 or MILAN-192 option card. With an extensive array of patching and routing capabilities, users enjoy enhanced creative freedom and can effortlessly position audio exactly where they need it to be, eliminating the need for time-consuming legacy workarounds.

“The routing flexibility offered in the latest VENUE software update is pushing the boundaries of what’s possible in patching, making the Avid VENUE | S6L the obvious mixing console choice in live sound,” said Francois Quereuil, Vice President, Product Management for Audio and Music Solutions at Avid. “With nearly endless input options, S6L users can now craft signal flow in new and innovative ways. We’re excited to see what our creative customers will produce with these enhancements.”

Avid customers are already experiencing the benefits of the VENUE 7.2 update. Olivier and Tony award-winning sound designer Gareth Owen notes the software’s efficiency and ease of use: “One of the cool ways we use output to input is that we will often duplicate an input channel, with one version going to Front of House (FOH) and one version going to surround. Usually, we do a post insert direct out from the FOH channel, via a plug-in, back into the Surround channel so you automatically get all the processing on both channels. Now we can do this more elegantly without the wasted plug-in slot.”

Avid's innovations in live sound include the recent addition of Soothe Live for S6L, free for a year with a support plan. Addressing common problems in mixing live sound like overly bright instruments, proximity effect in vocals, muddiness and instrument bleed, Soothe Live works in real time and was developed specifically for S6L users to work quickly and efficiently to get the highest quality mixes regardless of venue size, layout, or acoustics.

The Avid VENUE 7.2 software update for Avid VENUE | S6L is now available. Customers can learn more about this live sound innovation at https://www.avid.com/resource-center/venue-7-2.

The routing flexibility offered in the latest VENUE software update is pushing the boundaries of what’s possible in patching, making the Avid VENUE | S6L the obvious mixing console choice in live sound. 
- Francois Quereuil, Vice President, Product Management for Audio and Music Solutions at Avid

One of the cool ways we use output to input is that we will often duplicate an input channel, with one version going to Front of House (FOH) and one version going to surround. Usually, we do a post insert direct out from the FOH channel, via a plug-in, back into the Surround channel so you automatically get all the processing on both channels. Now we can do this more elegantly without the wasted plug-in slot.
- Olivier and Tony award-winning sound designer Gareth Owen

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