Avid S3L

Re: Avid S3L

Caleb Dick said:
Agreed. The whole point of a physical surface rather than just software, is to see and interact with lots of data in a short amount of time. This product, at least the physical interface aspect of it, seems to have missed the boat. If it was only processing, we'd all be using iLive iDR racks or Q-Sys or other DSP's chained together and touch screen.
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Maybe it's just me and the way I tend to interact with the Venue system but it has always been a "mouse and screen" type of interface for me. If Digico or Studer went to this type of surface my workflow would have to change but with the Venue software I can't really see much needing to change in the way I would operate the system.
 
Re: Avid S3L

Silas Pradetto said:
If you actually read the info it plainly shows that it does more than the SC48 can do in every way. More auxes, more inputs, double the plugins, etc. I'm not a big Avid fan but at least I can read.

The highlights I got were 64 full mix inputs (vs 48 on the SC48), 24 auxes (vs 16 on the SC48), 40 plugins (vs 20 on the SC48)...and it's modular so you don't have to buy more system than you need.

I do agree that it looks ridiculous, but I guess we have to be open to new things as digital consoles advance. I'm pretty happy that this uses AVB, first product I've seen that is really designed around it.
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Silas,

Please state things correctly, the SC48 does 64ch., 24 mix buses and 40 plug ins on V3.0 software.

Other than that it will be interesting to see pricing on this new desk

db
 
Re: Avid S3L

andrew gissing said:
If you attach remote racks, can it then do 64 mic pre's ? This does mean sacrificing some of the inputs in the back of the SC48 to accomodate the remote card.
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No, it's 48 mic pres, period. That's whether you load them all up in the stage rack option or leave some in the board. Other inputs can come from the IO16 option card which gives you 8 TRS line inputs (and outputs) as well as 8 AES3 inputs (and outputs).
 
Re: Avid S3L

Jake Scudder said:
Maybe it's just me and the way I tend to interact with the Venue system but it has always been a "mouse and screen" type of interface for me. If Digico or Studer went to this type of surface my workflow would have to change but with the Venue software I can't really see much needing to change in the way I would operate the system.
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Same here, I don't like that I have to add a screen to use the desk. For some of the markets that cry for slim surfaces (theater shows or German churches, for instance), I would like to dim the surface (that includes the screen).

The price seems a tad too high for small club touring (another market that would benefit from the desk layout).

It seems that the Venue series wasn't taking off over here, so maybe it doesn't matter anyway. (We just tried to rent a SC48 for a show, took a while to find one here)
 
Re: Avid S3L

Caleb Dick said:
Jands Stage CL anyone? Dedicated rotaries for EQ, comp, gate, etc?

I like the Avid software, it's straight forward; however the physical surface just doesn't do it for me. Certinaly nowhere near a Pro2c.
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Same here – black/grey surface, black/grey knobs, black buttons all evenly spaced, that will be easy to use in a dark club!
 
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Re: Avid S3L

Rob Timmerman said:
I think we'll be ok with that.
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I’m sure you will be OK, but in 2013 you should be better than OK.

Your examples all have coloured knobs except for the Rane.

Many years ago before you could easily buy a DJ mixer I built one that looked just like the Rane. The first time I used it, I hated it, so I changed the size of the knobs according to how important they were and how often they were used, made a HUGE improvement.

Have a look at the Midas, the most often used areas are highlighted in white. The most used function on the compressor (for example), the threshold is in the centre of compressor control functions, and the knob is slightly larger. The screen display is adjacent your hand, and the control you are operating is arranged so your eyes only need to focus on one spot, the knob you touch is highlighted on the screen as you touch it.

The easier you make the surface/interface to use, the easier it is to focus on the task of mixing, improving your chance of doing abetter mix.

Midas Consoles | PRO2
 

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Re: Avid S3L

Justice C. Bigler said:
I like how the I/O box has to be 4U tall, but half of the width is taken up by unusable rack ears. So that you waste 2U of space for your 16x8 channel I/O box, when it could have all fit into a 2U tall full width rack.
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I think the intention is to have a rack mount box that converts to a freestanding stagebox by flipping up the rack ears to make them handles with the box sitting on the back, connectors up.

Mac
 
Re: Avid S3L

mackerr said:
I think the intention is to have a rack mount box that converts to a freestanding stagebox by flipping up the rack ears to make them handles with the box sitting on the back, connectors up.

Mac
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That and the fact that I don't think this will be the end of the offerings in this new line. Some of the physical attributes may necessary to match with future stage racks.

The other thought I have is that it would allow you to put panel mount connectors for EtherCon and multi connections (tails) on the opposite side and pass the XLR pairs to the front without burning a space above and/or below each box.
 
Re: Avid S3L

Andrew - 99.9% sure that Greg's response is correct. The SC48 hardware will only handle 48 mic pres. Regardless of how you have them distributed between the surface and the maximum of two remote boxes. I have an SC48 with all the mic pre's remoted. All 48 of them. That's all she'll do, captain.
 
Re: Avid S3L

I'll take your word for it but I don't understand. I would have thought that the heavy lifting would be done on the card - phantom, mic pre and AD converter - so just passes out a digital signal to join the rest.

uhhh.. like the line level IO box that Greg mentioned.

Surely it would have to be that way - because as you've written, you can rip the analogue cards out and put them in a rack with no other brains than an ethernet card.

This sounds like some kind of purposeful limitation. I also find it amusing that you can't mount the outputs and all 48 inputs in the one remote rack.... necessitating a second rack if you want to be fully remote. More $$.

But hey.. if that's the way it is.

I've got no beef with Avid; I teach students with a profile and protools in a lab... all good gear.

And yeah David.. one more for TB !
 
Re: Avid S3L

If you have opened up an SC48, you can quickly see where the limitations come in. Input and output cards are connected to the computer/processor each via some large ribbon cables. There are only 5 connectors for you to plug these ribbons into. Which allows for 3 input cards and 2 output cards. I would guess the DSP limitations prevent you from doing 4 inputs and 1 output, not the physical connections. When you convert a regular SC48 to a remote SC48, the ribbons move from the I/O cards to the to the Ethernet card, which also has 5 connectors. If you have all your inputs in the remote rack, and outputs at the desk, your Ethernet card would get 3 ribbons, and the output cards in the desk get the other two. Meaning you can't simply add another remote rack with outputs without opening up the desk.
 
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