You can even snapshot this setting, so you can apply different amounts of drive during different songs. The tone control goes from dark (the low setting of 1), to bright (the high setting of 6), and allows you to brighten or darken sources using saturation rather than EQ. When psuhed into the positive direction, you’re driving the tube saturation harder. When the drive control is pushed in the negative direction, you’re driving the tape saturation harder.
In VENUE 7, HEAT can be applied to any or all input channels, adding tape or tube-type saturation while also allowing the engineer to adjust the tonality of the saturation. Designed by the legendary Dave Hill of Crane Song, HEAT stands for “Harmonically Enhanced Algorithm Technology.” It’s a saturation algorithm that can add analog color or saturation uniquely to each instance, with zero latency. If you’ve followed the Pro Tools world, you’ll have heard about HEAT.
Get ready for the biggest live sound console update that you’ve ever seen! We went through almost every S6L user request, identified which were the most requested, figured out what was actually achievable within the year, and got them done.
So, what do you call it when it’s got all of those AND a heck of a lot more? We called it VENUE 7, and it’s packed with updates including over 400 bug fixes and an almost unreasonably long list of new features. A launch with bus-to-bus routing would be epic. If Avid did a release with HEAT processing on every input channel it would be huge. If Avid released software with post-fader inserts in it, it would be a big release.
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