Avid Technology Live Recording User manual

Live Recording Guide
for VENUE Systems and Pro Tools ®

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, Digidesign, Digidesign Audio Engine, Digidesign
Intelligent Noise Reduction, Digidesign 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 9324-65001-00 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 iii
contents
Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
VENUE Recording Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
System Requirements and Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Additional VENUE and Pro Tools Documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Conventions Used in This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
About www.avid.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Chapter 2. Hardware Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
FWx Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
HDx Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
VENUE MADI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Redundant Output Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
HD Interfaces and HDx Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Chapter 3. Configuring VENUE and Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Configuring VENUE Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Configuring Pro Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Chapter 4. Live Recording and Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Creating a Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Creating Custom Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Recording the Main L/R Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Recording Submixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Recording Digital Splits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Performing a Virtual Soundcheck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Recording Audience Mics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Live Recording Guideiv
Chapter 5. Using VENUE Link. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Making Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Making Data Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Enabling VENUE Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Using VENUE Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Appendix A. Sychronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Synchronizing Redundant Output Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Using an External Master Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Synchronizing an HD Interface and HDx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Locking Pro Tools to Time Code . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Appendix B. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Backing Up Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Common Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Performance Factors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Before You Call Avid Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Chapter 1: Introduction 1
chapter 1
Introduction
Welcome to the Live Recording Guide for VENUE
Systems and Pro Tools. This guide is for VENUE
users that are recording and playing back audio
in live performances using Pro Tools. Refer to
this guide to help you:
Make hardware connections between your
VENUE and Pro Tools systems.
Configure your VENUE and Pro Tools systems
for recording and playback.
Record live audio to your Pro Tools system.
Playback Pro Tools audio through your
VENUE system.
Simplify and enhance live recording and play-
back using VENUE Link.
Troubleshoot common issues.
VENUE Recording Options
All VENUE recording options offer assignable in-
puts and outputs, which you can use to record
and playback Pro Tools audio.
Additionally, HDx and the VENUE MADI card
offer several different operating modes for re-
cording and playing back Pro Tools audio.
All Systems
All VENUE recording options (FWx, HDx, and
VENUE MADI) offer assignable inputs and out-
puts. Assignables are patched in the VENUE sys-
tem Patchbay, and are freely available in all op-
erating modes.
Using assignables, you can do any or all of the
following while simultaneously mixing a live
performance:
• Record the Main L/R mix using Direct Outs.
See “Recording the Main L/R Mix” on
page 28.
• Record submixes (or stems) using VENUE
system bus outputs. See “Recording Sub-
mixes” on page 30.
• Assign Pro Tools tracks to any VENUE sys-
tem input channel or FX Return for play-
back of Pro Tools audio.
FWx
With FWx, assignable inputs and assignable out-
puts are available for recording and playing back
Pro Tools audio.
You can also perform the equivalent of a Virtual
Soundcheck using pre-recorded Pro Tools tracks
Pro Tools audio tracks by incorporating VENUE
Snapshots into your workflow. See “FWx Virtual
Soundcheck” on page 35.

Live Recording Guide2
HDx and VENUE MADI
HDx and VENUE MADI offer, in addition to as-
signable inputs and outputs, the following ad-
vanced recording and playback features:
Direct Digital Splits When Stage inputs are the
main source of audio signals for VENUE, a one-
for-one direct digital split of all VENUE Stage in-
put channels are sent to your connected
Pro Tools system. See “Enabling Digital Splits”
on page 11 and “Recording Digital Splits” on
page 32.
Virtual Soundcheck Mode In this mode, pre-
recorded Pro Tools tracks are the main source of
audio for your VENUE system. Stage input chan-
nels are replaced with inputs from Pro Tools.
You can then make adjustments to your mix
and any changes, including creating and modi-
fying Snapshots, carry over when you switch
back to Stage mode. You can also choose
whether or not to apply input channel gain
changes made while in Virtual Soundcheck
mode. See “Enabling Virtual Soundcheck Mode”
on page 12 and “Performing a Virtual Sound-
check” on page 34.
Input Mode In this mode, audio from Pro Tools
is the main audio source for your VENUE sys-
tem. Stage inputs on your VENUE system are re-
placed with inputs from Pro Tools. Unlike Vir-
tual Soundcheck mode, input channel gain,
HPF, and other PRE parameters are ignored
(sources from Pro Tools are reset to default, i.e,
taken “direct” into VENUE). When switching
back to Stage mode, previous input channel
gain and PRE settings are restored. Any adjust-
ments made in Input mode are dropped. Use
Snapshots to store PRE parameters before enter-
ing Input mode, then recall those Snapshots af-
ter switching back to Stage mode. See “Enabling
Input Mode” on page 14.
Redundant Outputs You can install two HDx
cards, two MADI cards, or an HDx card and a
MADI card in an FOH Rack or a Mix Rack and
operate them in a redundant output configura-
tion. With redundant outputs you can:
• Record all 48 Stage inputs, plus any assign-
able outputs, to two independent, 64-chan-
nel Pro Tools|HD systems.
• Record all 48 Stage inputs, plus any assign-
able outputs, to a Pro Tools|HD system, and
transmit the same channels to an external
MADI device.
• Send all 48 Stage inputs, plus any assign-
able outputs, to two external MADI de-
vices, including a Pro Tools|HD system
incorporating HD MADI interfaces.
See “Enabling Redundant Outputs” on page 15.
In VENUE software 2.8.1 and lower, the
mode called HDx Input was the only mode
available for replacing Stage inputs with
Pro Tools audio inputs. It provided all Vir-
tual Soundcheck features. Beginning in
VENUE software 2.9, these features are pro-
vided in two separate operating modes.
All assignable inputs and outputs remain in-
dependently routable and freely available.

Chapter 1: Introduction 3
System Requirements and
Compatibility
To integrate your VENUE system with Pro Tools,
you need the following:
An Avid-qualified VENUE system with an in-
stalled VENUE record/playback card (HDx card,
VENUE MADI card, or the FWx card).
– and –
An external hard drive (or drives). Visit
www.avid.com for information on external hard
drive requirements.
Avid can only assure compatibility and provide
support for hardware and software it has tested
and approved.
For complete system requirements and a list of
Avid-qualified computers, operating systems,
hard drives, and third-party devices, refer to the
latest information on the Avid website:
www.avid.com
Additional VENUE and
Pro Tools Documentation
For information on installing cards in your
VENUE system, see the guide that came with
your card.
For more information on installing
Pro Tools|HD card and tips for optimizing your
Pro Tools computer, see the HD Card Quick Setup
or the Pro Tools HD User Guide.
For complete information on using Pro Tools
software, see the Pro Tools Reference Guide.

Live Recording Guide4
Conventions Used in This
Guide
All our guides use the following conventions to
indicate menu choices and key commands:
The names of Commands, Options, and Settings
that appear on-screen are in a different font.
The following symbols are used to highlight im-
portant information:
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 Pro Tools system. The fol-
lowing are just a few of the services and features
available.
Product Registration Register your purchase on-
line.
Support and Downloads Contact Avid Customer
Success; download software updates and the lat-
est online manuals; browse the Compatibility
documents for system requirements; search the
online Answerbase; or join the worldwide
Pro Tools community on the User Conference.
Training and Education Study on your own using
courses available online or find out how you can
learn in a classroom setting at a certified
Pro Tools training center.
Products and Developers Learn about Avid prod-
ucts; download demo software or learn about
our Development Partners and their plug-ins,
applications, and hardware.
News and Events Get the latest news from Avid
or sign up for a Pro Tools demo.
Pro Tools Accelerated Videos Watch the series of
free tutorial videos. Accelerated Videos are de-
signed 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.
Convention Action
File > Save Choose Save from the
File menu
Control+N Hold down the Control
key and press the N key
Control-click Hold down the Control
key and click the mouse
button
Right-click Click with the right
mouse button
User Tips are helpful hints for getting the
most from your system.
Important Notices include information that
could affect your Pro Tools session data or
the performance of your system.
Shortcuts show you useful keyboard or
mouse shortcuts.
Cross References point to related sections in
this guide or other Avid Guides.

Chapter 2: Hardware Connections 5
chapter 2
Hardware Connections
This chapter explains the hardware connections required for live recording and playback using FWx,
HDx, and VENUE MADI with Pro Tools. Redundant output connections and the required connec-
tions for integrating a Pro Tools|HD interface are also explained.
FWx Connections
FWx requires a single Firewire connection between VENUE and an available Firewire port on your
computer. When connected, Pro Tools detects FWx, and FWx appears in the Pro Tools Hardware
Setup and I/O Setup dialogs.
Connecting External Hard Drives to FWx
If your Pro Tools computer only has one FireWire port and you are using an external FireWire hard
drive as your record volume, connect a FireWire cable from the FireWire port on your VENUE system
to an available FireWire port on the external drive. Then connect another FireWire cable from a sec-
ond available port on the external drive to the FireWire port on your computer. Your external
FireWire drive must have two FireWire ports. See the 003 Family User Guide for more information on
using external FireWire drives with Pro Tools.
Figure 1. FWx record and playback configuration and available I/O
FWx assignable inputs
FWx
Pro Tools computer
and outputs 1–18
External hard drive

Live Recording Guide6
HDx Connections
HDx is connected to a Pro Tools|HD system using the same DigiLink cables used to connect other
Pro Tool|HD equipment. In HDx installations, all DigiLink cables must be the same length.
DigiLink cables are bidirectional. When VENUE’s Stage inputs are active, the DigiLink cables carry
VENUE channels to Pro Tools. When VENUE is in Virtual Soundcheck or Input mode, the DigiLink
cables carry Pro Tools channels to VENUE . In all modes, assignable inputs and outputs are freely
available and independently routable.
When connected, HDx appears in the Pro Tools IO Setup and Hardware Setup dialogs.
To use VENUE Link, you must also connect an Ethernet cable between systems. See Chapter 5, “Us-
ing VENUE Link.”
Figure 2. HDx recording and playback configuration and available I/O
Accel cards
Core card
HDx 1
HDx 2
Stage 1 channels 33–48,
and HDx 1 assignable I/O*
Stage 2 channels 1–32
Stage 2 channels 33–48
(81–96), and HDx 2
assignable I/O*
Pro Tools system
HDx1 channels 1–32**
HDx1 channels 33–48,
and HDx 1 assignable
I/O**
HDx2 channels 1-32
HDx2 channels 33–48,
and HDx 2 assignable
I/O**
(49–80)**
Stage 1 channels 1–32*
* Channels to Pro Tools ** Channels to VENUE
in Virtual Soundcheck
(49–80)*
Assignable inputs and
outputs available in
all modes.
Assignable inputs and
outputs available in
all modes.
with Stage inputs active. or Input mode.

Chapter 2: Hardware Connections 7
VENUE MADI Connections
VENUE MADI is connected to a Pro Tools|HD MADI interface using optical or coaxial cables. Separate
input and output connections for sending and receiving audio are required between the VENUE
MADI card and the HD MADI interface. HD MADI interfaces are connected to Pro Tools using Di-
giLink cables. See the HD MADI User Guide for making connections from HD MADI to Pro Tools.
When connected, Pro Tools detects connected HD MADI interfaces (not connected VENUE MADI
cards). HD MADI interfaces appear in the Pro Tools Hardware Setup and IO Setup dialogs.
To use VENUE Link, you must also connect an Ethernet cable between systems. See Chapter 5, “Using
VENUE Link.”
Figure 3. VENUE MADI record/playback configuration using optical connections
MADI OPTICAL 1
INOUT
MADI COAXIAL 1
OUT IN
MADI OPTICAL 2
INOUT
MADI COAXIAL 2
OUT IN
PORT 1 PORT 2
SRC AES/EBU AC ~ 100-240V;50-60HZ; .5A
SRC WORD CLOCK WORD CLOCK LOOP SYNC
IN
OUT
IN 1
IN 2
MADI OPTICAL 1
INOUT
MADI COAXIAL 1
OUT IN
MADI OPTICAL 2
INOUT
MADI COAXIAL 2
OUT IN
PORT 1 PORT 2
SRC AES/EBU AC ~ 100-240V;50-60HZ; .5A
SRC WORD CLOCK WORD CLOCK LOOP SYNC
IN
OUT
IN 1
IN 2
MADI In In
Out Out
Sig
Opt
MADI In In
Out Out
Sig
Opt
VENUE MADI 1
VENUE MADI 2
HD MADI 1
HD MADI 2
St age 1 channels 1–48
and MADI 1 assignable
MADI 1 channels 1–48
and MADI 2 assignable
outputs 1–64*
inputs 49–64*
St age 2 channels 1–48
and MADI 2 assignable
outputs 49–64*
MADI 2 channels 1–48
and MADI 2 assignable
inputs 49–64**
A HD MADI
channels 1–32
A HD MADI
channels 33–64
B HD MADI
channels
B HD MADI
channels
33–64
1–32
Loop Sync cables
* Channels to Pro Tools
in Stage mode
** Channels to VENUE
in Virtual Soundcheck
or Input mode
Pro Tools system

Live Recording Guide8
Redundant Output Connections
(HDx and VENUE MADI only)
This section shows the hardware connections for two possible redundant output configurations. To
enable redundant outputs, see “Enabling Redundant Outputs” on page 15. When using VENUE
MADI with third-party MADI devices, an additional word-clock connection may be required. See
“Synchronizing Redundant Output Configurations” on page 53 for more information.
HDx 1 and HDx2
In this configuration, Stage 1 inputs 1–48 are copied to both HDx 1 and HDx 2 outputs. Assignable in-
puts and outputs from both cards (16 channels x 2) are freely available.
HDx 1 and MADI 2
In this configuration, Stage 1 inputs 1–48 are copied to MADI 2 optical and coaxial outputs. Assign-
able channels from both cards (16 channels x 2) are freely available. (A separate input connection is
required to use MADI 2 assignable inputs on the VENUE system). Additional word clock connections
may be required for third-party MADI devices. See the VENUE MADI Card Guide or your MADI de-
vices’s documentation for more information.
Figure 4. Redundant output mode using VENUE HDx 2 card as the redundant output
Figure 5. Redundant output mode using VENUE MADI 2 card as the redundant output
Stage 1 channels 1–32
Local Pro Tools|HD2
at FOH
HDx 1
HDx 2
Remote
Pro ToosHD2
Stage 1 channels 1–32
Stage 1 channels 33–48
HDx 2 assignable I/O
Stage 1 channels 33–48
HDx 1 assignable I/O
MADI In In
Out Out
Sig
Opt
HDx 1
MADI 2
Stage 1 channels 1–32
Local Pro Tools|HD2
at FOH
Remote
Stage 1 channels 33–48
Pro Tools|HD2 or
Stage 1 channels 1-48
HDx 1 assignable I/O
MADI 2 assignable outs 49–64
other MADI device

Chapter 2: Hardware Connections 9
HD Interfaces and HDx Connections
You may want to use a Pro Tools HD interface (HD IO, 192 I/OTM, 192 Digital I/OTM, 96 I/OTM, or
96i I/OTM) with your live recording system to allow for remote monitoring or remote audio input
(such as audience mics located at the FOH position). Connect the HD-series audio interface to the last
Pro Tools|HD card in the sequence (the HD card farthest away from the Core card).
A word clock connection between the VENUE system and the audio interface is also required. See
“Synchronizing an HD Interface and HDx” on page 54.
Figure 6. Example HDx configuration integrating an HD audio interface
Audience mics Remote monitors
HD interface
Mic Pre
HDx 1
HDx 2
Pro Tools computer
VENUE system Word Clock Out (FOH Rack shown)
To HD interface Loop Sync In

Live Recording Guide10

Chapter 3: Configuring VENUE and Pro Tools 11
chapter 3
Configuring VENUE and Pro Tools
After connecting VENUE and Pro Tools, you
need to configure both systems for recording
and playback.
Configuring VENUE Systems
Configuring your VENUE system for use with
Pro Tools includes the following (depending on
your VENUE hardware):
• Enabling VENUE to send direct digital
splits to Pro Tools
• Enabling Virtual Soundcheck mode
• Enabling Input mode
• Enabling redundant outputs
Enabling Digital Splits
(HDx and VENUE MADI Only)
To send digital splits of your VENUE system
Stage input channels, your Stage inputs must be
enabled and active.
To enable a digital split of your Stage input
channels:
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 the Options page and click the System
tab to access the System Configuration page.
3 Click Edit.
4 For Stage 1 inputs, in the Inputs section of the
System Configuration page, beneath Inputs 1–4,
select Stage 1 (or Stage for Mix Rack).
FWx requires no VENUE system configur-
ing. You can proceed to “Configuring
Pro Tools System Settings” on page 17.
Selecting Stage 1 inputs

Live Recording Guide12
5 For systems with a second Stage Rack, do the
following:
• Select Enable Stage 2.
• Select Enable HDX 2 (or MADI 2).
• In the Inputs section of the System Config-
uration page, beneath Inputs 49–96, select
Stage 2.
6 Click Apply. The system restarts with all se-
lected Stage inputs active.
Any audio present on VENUE system Stage in-
put channels is sent to all HDx card ports, or to
the MADI card coaxial and optical outputs.
Enabling Virtual Soundcheck
Mode
(HDx and VENUE MADI with VENUE Software
2.8.5 and Higher Only)
In Virtual Soundcheck mode, audio from
Pro Tools replaces the corresponding Stage in-
puts one-for-one, and appear in place of those
Stage Inputs in the VENUE Patchbay. All
changes to your live mix (such as channel as-
signments, and input and output processing)
carry over when you enable Virtual Soundcheck
mode. The digital portion of the gain for each
channel is preserved and applied to the incom-
ing signal from Pro Tools. This results in the
same apparent levels for Pro Tools inputs and
Stage inputs.
To enable Virtual Soundcheck mode:
1 Put your system into Config mode.
2 Go to the Options page and click the System
tab to access the System Configuration page.
3 Click Edit.
4 For the first HDx or MADI card, in the Inputs
section of the System Configuration page, be-
neath Inputs 1–48 select HDx1 (or MADI 1), then
select Virtual Soundcheck from the Input format
pop-up menu.
5 For systems with a second HDx or MADI card,
do the following:
• Select Enable Stage 2.
• Select Enable HDx2 (or MADI 2).
• In the Inputs section of the System Config-
uration page, beneath Inputs 49–96, select
HDx2 (or MADI 2), then select Virtual Sound-
check from the Input format pop-up menu.
Enabling Stage 2
Selecting Stage 2
In VENUE software 2.8.1 and lower, the
mode called HDx Input was the only mode
available for replacing Stage inputs with
Pro Tools audio inputs. It provided all Vir-
tual Soundcheck features. Beginning in
VENUE software 2.9, these features are pro-
vided in two separate operating modes.
Enabling Virtual Soundcheck (HDx shown)

Chapter 3: Configuring VENUE and Pro Tools 13
6 For each MADI card present, click the Input
Format pop-up menu and choose one of the fol-
lowing input options:
Optical Priority (default) The optical input is au-
tomatically selected and made active when a
valid input signal is detected on the optical in-
put. If signal is being sent simultaneously to
both the optical and the coaxial inputs, only the
optical input will be active.
Optical Only the optical input is active,
whether or not a valid MADI connection exists.
Coaxial Only the coaxial input is active, whether
or not a valid MADI connection exists.
7 Click Apply. The Stage tabs in the Patchbay are
replaced by HDx or MADI tabs depending on
your configuration, and all Stage routing is pre-
served. A history Show file of the previous con-
figuration is also created and stored in
Filing > History.
Exiting Virtual Soundcheck Mode
To exit Virtual Soundcheck mode and return to
active Stage inputs:
1 Put your system into Config mode.
2 Go to the Options page and click the System
tab to access the System Configuration page.
3 In the Inputs section of the System Configura-
tion page, beneath Inputs 1–48 select Stage 1 (or
Stage for Mix Rack).
4 For systems with a second Stage Rack, In the
Inputs section of the System Configuration
page, beneath Inputs 49–96 select Stage 2.
5 When the Apply/Discard dialog appears, click
either of the following as desired:
Apply Any gain changes made in Virtual Sound-
check mode are added to the total Stage input
gain on each channel.
Discard Any gain changes made in Virtual
Soundcheck mode are lost and the Stage input
gain is returned to its previous value on each
channel.
For example, if you set Stage input gain for a
channel to +30 dB, then switch to Virtual
Soundcheck mode, a digital gain of +2.2 dB is
preserved in Virtual Soundcheck mode to yield
the same overall gain on that channel (because
2.2 dB of the 30 dB setting was digital gain as
compared to analog gain).
While in Virtual Soundcheck mode, if you in-
crease the digital gain on the channel by 6 dB
(to a displayed setting of +8.2 dB), and then
switch back to Stage mode, you can do one of
the following:
• Apply the gain change, yielding a Stage in-
put gain increase of 6 dB, or a final setting
of +36 dB (30+6).
– or –
• Discard the gain change, leaving the origi-
nal Stage input gain unchanged at +30 dB.
Selecting the MADI input format

Live Recording Guide14
Enabling Input Mode
(HDx and VENUE MADI with VENUE software
2.8.5 and Higher Only)
In Input mode, Pro Tools is the main source of
audio signals for your VENUE system. Audio
channels from Pro Tools appear one-for-one in
place of Stage inputs in the VENUE Patchbay.
To replace Stage inputs with inputs from
Pro Tools:
1 Put your system into Config mode
2 Go to the Options page and click the System
tab to access the System Configuration page.
3 Click Edit.
4 In the Inputs section of the System Configura-
tion page, beneath Inputs 1–48, select HDx1 (or
MADI 1), then select Input Mode from the pop-up
menu.
5 For systems with a second HDx or MADI card,
do the following:
• Select Enable HDx2 (or Enable MADI 2).
– and –
• In the Inputs section of the System Config-
uration page, beneath Inputs 49–96, select
MADI 2, then select Input Mode from the
pop-up menu.
6 For each MADI card present, click the Input
Format pop-up menu and choose one of the fol-
lowing input options:
Optical Priority (default) The optical input is au-
tomatically selected and made active when a
valid input signal is detected on the optical in-
put. If signal is being sent simultaneously to
both the optical and the coaxial inputs, only the
optical input will be active.
Optical Only the optical input is active,
whether or not a valid MADI connection exists.
Coaxial Only the coaxial input is active, whether
or not a valid MADI connection exists.
Enabling Input mode for inputs 1–48 (HDx shown)
Enable Stage 2 and HDx2
Enabling Input mode for Stage 2 inputs (HDx shown)
It is possible to use HDx2 or MADI 2 inputs
even if a second Stage Rack (Stage 2) is not
present in the system. A second Snake card
must be installed in your FOH Rack. See the
Snake Card guide for more information.
Selecting the MADI input format

Chapter 3: Configuring VENUE and Pro Tools 15
7 Click Apply. In the dialog box that appears,
click OK.
The system restarts with HDx or MADI inputs
active. A history Show file of the previous con-
figuration is also created and stored in
Filing > History.
Adjusting Input Gain in MADI Input
Mode
In MADI Input mode, input channel gain is ad-
justed using the input gain encoders. Digital
gain (-20 dB to +18 dB) is available for all MADI
inputs.
When switching from active Stage inputs to
MADI Input mode, all gains for MADI input
channels are set to 0 dB.
When switching from MADI input mode to ac-
tive Stage inputs, all MADI digital gain settings
are replaced by pre-existing Stage input channel
gain settings.
Enabling Redundant Outputs
To enable redundant outputs:
1 Put your system into Config mode.
2 Go to the Options page and click the System
tab to access the System Configuration page.
3 Click Edit.
4 Do one of the following depending on your
configuration:
• If you have two HDx cards installed, click
Enable HDx 2, an click Copy Stage 1 (or
Stage for Mix Rack) Outputs to HDx 2.
• If you have an HDx card installed in slot 1
(HDx1) and a MADI card installed in slot 2
(MADI 2), and you want to copy HDx , click
Enable MADI 2 and click Copy Stage 1 (or
Stage for Mix Rack) Outputs to MADI 2.
• If you have a MADI card installed in slot 1
(MADI 1) and a HDx card installed in slot 2
(HDx2), and you want to copy the MADI 1
outputs to HDx 2 outputs, click Enable
HDx2 and click Copy Stage 1 (or Stage for
Mix Rack) Outputs to HDx 1.
• If you have two MADI cards installed
(MADI 1 and MADI 2), and you want to
copy MADI 1 outputs to MADI 2, click En-
able MADI 2 and click Copy Stage 1 (or Stage
for Mix Rack) Outputs to MADI 2.
5 Click Apply.
Stage 1 (or Stage for Mix Rack), inputs are copied
to the second card’s outputs, and all assignable
inputs and outputs are available for each option
card.
If you want to revert to the previous configu-
ration, in the Show Folder column select the
most recent Show file from the Most Recent
Changes folder, and click Load.

Live Recording Guide16
Configuring Pro Tools
Configuring your Pro Tools system for use with
a VENUE system includes the following:
• Confirming communications between sys-
tems
• Configuring Pro Tools system settings
Confirming Communications
Between Systems
After connecting your equipment, you should
confirm that Pro Tools correctly recognizes your
VENUE system.
To confirm communications between systems:
1 Make sure your Pro Tools and VENUE systems
are connected properly. See Chapter 2, “Hard-
ware Connections.”
2 Launch Pro Tools.
3 Before creating a new session, choose Setup >
I/O. The I/O Setup dialog lets you define which
physical ports on your hardware are routed to
available inputs and outputs in Pro Tools.
4 In the I/O Setup dialog, do the following:
• Click the Inputs tab, and click the Default
button.
• Click the Outputs tab, and click the Default
button.
5 Confirm that your VENUE system hardware
appears in the IO Setup dialog, as follows:
FWx If you are using a VENUE FWx card, it ap-
pears as FWx.
HDx When using VENUE HDx cards, the first
HDx card appears as HD1 Port A and HD1 Port B,
and the second card (if applicable) appears as
HD2 Port A and HD2 Port B.
VENUE MADI When using VENUE MADI cards
connected to HD MADI interfaces, the
HD MADI interface appears as A HD MADI Port 1
and A HD MADI Port 2, and the second interface
(if applicable) appears as B HD MADI Port 1 and
B HD MADI Port 2.
6 Click OK to confirm and close the IO Setup di-
alog.
I/O Setup dialog
HDx card in Pro Tools I/O Setup dialog
HD MADI interface in the IO Setup dialog
The HD MADI interface must use its default
names if you want to use VENUE Link. See
Chapter 5, “Using VENUE Link.”