By Mel Lambert
During a recent come-and-see MPSE Sound Advice evening at Avid’s West Coast offices in Burbank, MPSE members and industry colleagues were treated to an exclusive look at two new control surfaces for editorial suites and film/TV post stages.
The S1 and S4 controllers join the current S3 and larger S6 control surfaces. Session files from all S Series surfaces are fully compatible with one another, enabling edit and mix session data to move freely from facility to facility. All surfaces provide comprehensive control of Eucon-enabled software, including Pro Tools, Cubase, Nuendo, Logic Pro, Media Composer and other apps to create and record tracks, write automation, control plugins, set up routing and a host of other essential operations via assignable faders, buttons and rotary controls.
Jeff Komar, one of Avid’s pro audio solutions specialists, served as our guide during the evening’s demo sessions of the new surfaces for fully integrated sample-accurate editing and immersive mixing. Expected to ship toward the end of the year, the S1 is said to offer full software integration with Avid’s high-end consoles in a portable, slim-line surface, while the S4 — which reportedly begins shipping in September — is said to bring workstation control to small- to mid-sized post facilities in an ergonomic and compact package.
Pro-user prices start at $24,000 for a three-foot S4 with eight faders; a five-foot configuration with 24 on-surface faders and post-control sections should retail for around $50,000. The S1’s expected end-user price will be approximately $1,200.
The S4 provides extensive visual feedback, including switchable display from channel meters, groups, EQ curves and automation data, in addition to scrolling Pro Tools waveforms that can be edited from the surface. The semi-modular architecture accommodates between eight and 24 assignable faders in eight-fader blocks, with add-on displays, joysticks, PEC/direct paddles and all-knob attention modules. The S4 also features assignable talkback, listen back and speaker sources/levels for Foley/ADR recording plus Dolby Atmos and other formats of immersive audio monitoring. The unit can command two connected playback/record workstations. In essence, the S4 replaces the current S6 M10 system.
From recording and editing tracks to mixing and monitoring in stereo or surround, the smaller S1 surface provides comprehensive control and visual feedback with full-on Eucon compatibility for Pro Tools and Media Composer. There is also native support for third-party applications, such as Apple Logic Pro, Steinberg Cubase, Adobe Premiere Pro and others. Users can connect up to four units — and also add a Pro Tools|Dock — to create an extended controller. Each S1 has an upper shelf designed to hold an iOS- or Android-compatible tablet running the Pro Tools|Control app. With assignable motorized faders and knobs, as well as fast-access touchscreen workflows and programmable Soft Keys, the S1 is said to offer the speed and versatility needed to accelerate post and video projects.
Reaching deeper into the S4’s semi-modular topology, the surface can be configured with up to three Channel Strip Modules (offering a maximum of 24 faders), four Display Modules to provide visual feedback of each session, and up to three optional modules. The Display Module features a high-resolution TFT screen to show channel names, channel meters, routing, groups, automation data and DAW settings, as well as scrolling waveforms and master meters.
Eucon connectivity can be used to control two different software applications simultaneously, with single key press of editing plugins, writing session automation and other complex tasks. Adding joysticks, PEC/Direct paddles and attention panels enable more functions to be controlled simultaneously from the modular control surface to handle various editing and mixing workflows.
The Master Touch Module (MTM) provides fast access to mix and control parameters through a tilting 12.1-inch multipoint touchscreen, with eight programmable rotary encoders and dedicated knobs and keys. The Master Automation Module (MAM) streamlines session navigation plus project automation and features a comprehensive transport control section with shuttle/jog wheel, a Focus Fader, automation controls and numeric keypad. The Channel Strip Module (CSM) handles control-track levels, plugins and other parameters through eight channel faders, 32 top-lit knobs (four per channel) plus other programmable keys and switches.
For mixing and panning surround and immersive audio projects, including Atmos and Ambisonics, the Joystick Module features a pair of controllers with TFT and OLED displays. The Post Module enables switching between live and recorded tracks/stems through two rows of 10 PEC/direct paddles, while the Attention Knob Module features 32 top-lit knobs — or up to 64 via two modules — to provide extra assignable controls and feedback for plugins, EQ, dynamics, panning and more.
Dependent upon the number of Channel Strip Modules and other options, a customized S4 surface can be housed in either a three-, four- or five -foot pre-assembled frame. As a serving suggestion, the S4-3_CB_Top includes one CSM, one MTM, one MAM and filler panels/plates in a three-foot frame, reaching up to an S4-24-fader, five-foot base system that includes three CSMs, one MTM, one MAM and filler panels/plates in a five-foot frame.
My sincere thanks to members of Avid’s Burbank crew, including pro audio solutions specialists Tony Joy and Gil Gowing, together with Richard McKernan, professional console sales manager for the western region, for their hospitality and patience with my probing questions.