Midas | PRO Series | MARK Grap GLOB_2014 PRO X Brochure EN V1_2014-03

MARK Grap GLOB_2014 PRO X Brochure EN V1_2014-03
MIDAS—40 Years of
Legendary Performance
For over four decades, MIDAS has enjoyed a long
history of innovation and leadership in the world
of audio mixing consoles - a legacy that continues
on today.
Formed in 1970 by Jeff Byers and Charlie Brooke,
MIDAS originally designed and manufactured
musical instruments and amplifiers. Jeff soon
became fascinated by the concept of improving
and refining professional audio systems, and so
MIDAS went on to develop the first fully integrated
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modular audio system, comprising consoles,
crossovers, amplifiers and speaker systems. Indeed
the powered mixers built by Jeff in his flat in West
Hampstead, London can be regarded as the very
first MIDAS consoles.
A fortuitous collaboration came in about 1972
when MIDAS found new premises near Euston
Station in London, which just happened to be
next to already-established speaker manufacturer
Martin Audio. The two co-located companies
became synonymous in the minds of many live
sound customers and the calibrated MIDAS / Martin
modular PA systems became a regular fixture
on concert tours in the 1970s, with Martin Audio
responsible for the loudspeaker cabinets, whilst
MIDAS manufactured the electronics.
The first MIDAS console to achieve major success
was the modular PRO4 system, which came
about through Jeff Byers’s time on the road
with Supertramp on their 1974 ‘Crime of the
Century’ tour. The PR series, named after the
modules available for the consoles, found fame with
acts including Billy Joel, Yes, The Beach Boys and on
Pink Floyd’s 1977 and 1979 world tours.
1980 saw MIDAS supplying the legendary Frank
Zappa with a custom PRO5 console. This innovative
console changed the way a generation of engineers
approached the art of mixing and opened new
creative possibilities, and led to the PR 40, generally
referred to as the ‘PRO40’ becoming the console of
choice throughout the 1980s.
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MIDAS found new success at the start of the 1990s
with the XL3 monitor console, which set the scene for
the greatest analogue console ever built - the XL4.
The XL4 went on to set the benchmark for live
audio performance consoles in the 1990s. Audio
engineers were amazed by what they were able to
achieve using the XL4’s unbeatable combination of
audio performance and comprehensive movingfader automation. Many elements of this legendary
console are still available to today’s engineers in the
current range of MIDAS digital mixing systems.
Always seeking to redefine the boundaries of audio
performance and flexibility, the turn of the century
saw the launch of the ubiquitous HERITAGE 3000.
MIDAS employed the ultimate distillation of design
and experience in creating the perfect roadworthy
touring console. The HERITAGE 2000 and the theatreorientated HERITAGE 1000 completed the line-up.
Over the next decade, the HERITAGE 3000 became
the touring concert standard and formed the focal
point, along with the XL4, for most major tours
for the following decade, including acts such as
Bon Jovi, Alanis Morrisette, AC/DC, Coldplay, Kid
Rock, Metallica, Alicia Keys, Foo Fighters, Christina
Aguilera, Sir Paul McCartney, Pearl Jam, and more.
the sample-synchronous audio performance,
expandable network topology, and sheer ease
of use that XL8 provides. Since its launch, XL8
has become the system of choice for prestigious
installations, major touring venues the world over,
including many unique international events where
compromise is not an option.
Innovation continued into the new millennium
with the LEGEND 3000 - the world’s first tri-purpose
console - as well as the VERONA and SIENA, which
revitalised and redefined the market for mediumformat consoles.
In 2008, MIDAS released the PRO6 console, which
strengthened the company’s digital production
line. PRO6 shares the same sample-synchronous
audio performance and extensive networked audio
system as the venerable XL8. The PRO6 has become
a common sight at the front of house and monitor
positions in concert touring as well as global events.
Then, in 2006, Digital Went MIDAS
When the MIDAS XL8 was launched, it set
unprecedented new standards for audio quality,
ease of use, power, flexibility, and creative potential.
No other live digital console can compete with
2011 saw the introduction of the PRO2 and PRO2C,
offering all the advantages of the large-format
PROs in a compact footprint. MIDAS has continued
to innovate by introducing the MCA - an advanced
navigation system allowing increased speed of
workflow. The PRO1 introduced MIDAS’s first
lightweight all-aluminium chassis.
An Exciting New Era
MIDAS released the mid-format M32 console in
2014, leveraging innovative modern technology
and unprecedented manufacturing techniques to
introduce legendary MIDAS quality at a previously
unheard-of value.
The PRO X continues a 40-year history of excellence
and signals an exciting new era for MIDAS.
LEGEND 3000
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Introducing the PRO X
The Gold Standard
With their exemplary audio performance and
road-proven rugged and reliable construction, the
MIDAS PRO Series has become the gold standard in
concert touring and installed live sound. Employing
technologies developed from the class-leading and
visionary flagship MIDAS XL8 console, and offering
the same outstanding sample-synchronised and
phase-coherent audio performance, interpolated
control functions and intuitive navigation, the
With 168 simultaneous inputs, 99 buses and 96 kHz sample rate,
the PRO X sets a complete new standard for performance
and value.
PRO3, PRO6 and PRO9 Live Audio Systems have
become the industry’s go-to choice for live sound
reinforcement consoles.
Move Up a Gear
Now the PRO Series family moves up a gear with the
PRO X Control Centre and the industry-changing
NEUTRON Audio System Engine. Featuring 168
simultaneous input channels and 99 time-aligned
and phase-coherent buses with no trade-offs in
channel or bus counts, unlike many competitor
digital consoles which advertise feature lists which
are not representative of actual performance in use.
True and consistent 96 kHz sampling frequency and
40 bit floating point processing provide exemplary
quality audio processing, and the oversampled and
interpolated digital signal processing algorithms,
combined with the fully interpolated and touch
sensitive user controls, result in the smooth
continuous response and immediacy of working
on an analogue console. Parameter adjustment
becomes fast and easy, the continuous phase shift
of a swept frequency control is heard without the
quantisation effects of the discrete steps found in
other digital consoles.
The PRO X features the rugged and road-proven
KLARK TEKNIK HyperMAC and SuperMAC (AES50compliant) networking technologies with their
ultra-low and deterministic latencies and robust
error correction.
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Its powerful audio networking offers up to
288 inputs and 294 outputs at the 96 kHz
sample frequency.
For enhanced reliability, both the PRO X Control
Centre and the NEUTRON Audio System Engine
feature a HyperMAC router with 192 bidirectional
channels over dual-redundant copper and optical
fibre snake connections.
The PRO X Control Centre features dual 15" full
colour daylight-viewable TFT displays for use in all
environments, both inside and outdoors.
The 10 VCA (variable control association) and eight
POPulation groups, combined with the advanced
navigation offered by the new output-centric centre
section, allows the simultaneous display of 24 mono
or stereo mix buses.
All this provides an unparalleled mix experience.
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“Nothing Comes Close to MIDAS.”
In touring with Metallica since the 1980s, it’s always
been about the sound, reliability and flexibility.
Life on the road is demanding and the rugged,
tough- as-nails construction of MIDAS consoles is built
for touring around the world, concert after concert,
year after year.
The legendary microphone preamplifiers are the most
transparent and pure I have ever heard, but also take
on a whole other dimension when driven hard. The EQs
are both a fantastic sound- shaping creative tool and as
precise as a surgical scalpel.
When Digital went MIDAS, all that analogue spirit
of the amazing XL4 console was retained, whilst the
XL8 and PRO Series remain without equal with their
innovative and unique digital technologies.
Who else has fully interpolated controls and DSP
algorithms that sound nothing but spectacular, and
synchronised phase and time alignment throughout
the console that give you the amazing punch and
precision of an analogue console? What you hear on
stage is what you hear through the PA system.
PRO X and NEUTRON represent the latest evolution of
MIDAS, in an industry that MIDAS has been leading for
the past 40 years.
The new PRO X is not only the most powerful console
on the market, most importantly it has the incredible
MIDAS sound I would never mix without. I can’t wait to
go on tour with the new PRO X.
When it comes to sound and reliability, nothing comes
close to MIDAS.
“Big” Mick Hughes
Live Sound Engineer for Metallica
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Concert Sound
Building on the solid foundations of the roadproven MIDAS PRO3, PRO6 and PRO9 digital
consoles, PRO X is the touring engineer’s dream
console. Whilst still familiar to concert professionals,
the new centre section offers a step change in
console control surface layout presentation. PRO X
features multiple methods of channel navigation
allowing operators to streamline their workflows,
whether it be by the VCA and POPulation groups,
the innovative output mix-specific MCA (Mix Control
Association) groups, or advanced features such as
navigation by input channel fader flip, FX processor
and output mix graphic equaliser.
The console of choice for touring monitor
engineers, PRO X features 96 mix buses (in addition
to the 3 stereo and mono masters) that can be
simultaneously displayed as pages of 24 stereo
mixes on the console surface.
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Install Sound
The high channel counts and routing flexibility
offered by the PRO X and its companion NEUTRON
super processing engine set a new industry
benchmark. The total of 288 network inputs and
294 network outputs can be routed on a point-topoint basis, and this routing can even be changed
in each snapshot automation scene. AES50 and
HyperMAC audio networking combine deterministic
and ultra-low latency performance with true ‘Plug
and Play’ connectivity, minimising system set-up
and configuration times, essential when playing in a
different city every night.
This network performance, combined with the
phase-coherent and time-aligned processing in the
NEUTRON engine preserves the sound captured
by the on-stage microphones and the legendary
MIDAS microphone preamplifiers, so that a true
stereo sound image is always maintained in the
Front of House mix.
MIDAS XL8
PRO X offers 168 simultaneous input channels and
99 simultaneous output channels on a control
surface that is less than 1.5 metres wide. This highly
compact form factor is ideal for installations where
space is at a premium, but also demand high input
and output channel counts.
AES50 digital audio connectivity allows for a total of
up to 288 network inputs and 294 network outputs
for the PRO X system.
PRO X can be seamlessly integrated into installed
IP-compliant third party audio networks such as
Audinate Dante* and Cirrus Logic CobraNet* using
the KLARK TEKNIK DN9650 Network Bridge.
The dual clock domain isolation offered by the
DN9650’s industry-leading 64 channel bidirectional
asynchronous sample rate converter allows the
PRO X to exist on its own AES50 network, operating
independently of the installed network, whilst
interfacing directly to it.
This system clock isolation allows a live performance
being mixed on the PRO X to continue unaffected in
the event of any outages in third party networks.
The standardised MIDAS show file format, common
across all MIDAS PRO Series digital consoles allows
visiting engineers to prepare shows in advance of
arriving at a venue, either using another MIDAS
console or the Apple Mac* OS X Offline Editor
software, saving valuable time during show set-up.
Show files are forward and backward compatible
between console software versions, so that a show
created on one MIDAS PRO Series console can be
loaded into another MIDAS PRO Series console
regardless of the software version of either system.
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Image by kind permission of Angel Management Group and AudioTek
House of Worship
Theatre
Queen’s Award 1986
Contemporary worship features a wide variety of
praise activities, covering spoken word, live music
and theatrical performance, often in a single service.
PRO X’s advanced snapshot automation and colourcoded POP Group navigation allow operators to
create organised workflows and mind maps to make
seamless scene changes from a pastor’s sermon to a
full live band, to a drama performance.
In conjunction with the KLARK TEKNIK DN9650
Network Bridge and the KLARK TEKNIK KT-DANTE64
network module, PRO X can simultaneously record
64 channels of live 96 kHz 24 bit digital audio
straight into the Ethernet port on a computer using
the Audinate Dante Virtual Sound Card*. Entire
worship services can be recorded in pristine quality
and shared with the congregation.
Each of the 24 displayed mixes has its own LCD
select switch with RGB colour coding and write-on
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information and 11-segment LED bar graph metering
gives both clear indication of signal levels and direct
access to the output mixes and their contributions.
When MCA navigation is used, the MCA faders
control the contributions only to the currently
selected bus. This output-centric approach redefines
monitor mix workflows and the control of even the
most demanding stage monitoring applications.
PRO X’s 1,000 scene snapshot automation can
cope with even the most sophisticated theatrical
productions. Hardware automation ‘Safe’ buttons
enable the operator to quickly isolate selected
processing areas from recall should this be required
during a performance. The store and recall of scenes
can be ‘scoped’ so that only the areas that the
operator wants to store or recall are affected.
The faithful and detailed reproduction of the MIDAS
microphone preamplifiers and the time-aligned
and phase-coherent mix buses ensure maximum
intelligibility in highly reverberant and other
acoustically-challenging spaces.
Channel settings can be edited in advance of
recall – across all scenes – from the Show Editor
screen, and scenes can be re-ordered, inserted and
deleted, simply and quickly, without overwriting
their designation.
The deterministic ultra-low latency offered by
PRO X’s AES50 networking allows multichannel
digital audio to be distributed throughout worship
halls so that speaker systems can be precisely timealigned to allow every member of the congregation
to hear every word.
Scenes can be recalled instantaneously, with no
discernible drop in audio, or via complex crossfade
options, including programmable surround-sound
panning events.
The automation scenes allow MIDI events to be
incorporated, so that external MIDI-compatible
devices can be controlled as part of a scene change
via PRO X’s MIDI output. Additionally, console events
can be triggered from an external MIDI source via
PRO X’s MIDI input.
The PRO X control surface’s EXPAND feature
allows all 26 channel faders to be reassigned
to input channels, giving operators the facility
to ride multiple input channel faders during a
theatrical performance.
This hands-on approach brings the immediacy of an
analogue console to a digital control surface.
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NEUTRON
The Most Powerful Audio System
tem Engine
Live Sound! Tin Ear Award 1994
Equalisation
Equal
The NEUTRON Audio System
Engine is Unbelievably
Powerful, Fully Expandable
and Can Process up to
800 Audio Paths.
PRO X’s
X digital EQ features fully-interpolated
controls, which recreate the original phase shift as
contro
experienced when working on the world’s bestexperi
loved analogue consoles. Each input channel has
4-band parametric EQ, with a choice of 4 different
types for both the high and low filters. These
filter ty
power options can emulate the sound of historic
powerful
MIDAS consoles in real time or allow advanced
digital filter types, free of the limitations of
analog
analogue circuitry.
Your System is Future Proof.
The powerhouse at the centre of the PRO X
ine.
system is the new NEUTRON Audio System Engine.
NEUTRON is the result of a three-year research
and development program that has seen MIDASS
engineers push beyond the envelope with their
expertise and knowledge.
100 Gigaflops
Its cutting-edge, latest generation DSPs and
high-performance FPGA, couple with snuglycoupled MIMD (Multiple Instruction, Multiple Data)
architecture delivers more than 100 gigaflops of
real-time audio processing performance.
This means that NEUTRON has the potential to
provide more than 800 audio paths. Your system
remains absolutely future proof.
More than three times the power of other
competitors, it delivers impeccable MIDAS sonic
performance and functionality.
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But it’s not just about raw, number-crunching power
and high channel counts, NEUTRON is also about
finesse. Adding I/O boxes with the best converters
and custom processing algorithms that draw upon
over 40 years of listening experience at the top of
the industry, NEUTRON takes the audio quality of
those channels to another level.
Automatic Time Alignment
All MIDAS digital console systems have a
comprehensive and automatic latency management
system and NEUTRON is no exception. This system
manages all internal routing and processing latency
and also includes compensation for external
analogue inserts.
All audio samples are synchronised before
summing, resulting in absolute phase coherency
at the outputs and completely avoiding the
“comb filtering” effects of less carefully designed
systems that result in specific frequencies cancelling
out completely.
Comprehensive Channel Processing
NEUTRON’s channel processing is as comprehensive
as you would expect from a world-class professional
audio console. Every input channel features
delay, high and low pass filters, insert point, gate,
compressor and 4-band parametric EQ.
Each output channel features delay, insert, dynamics
and 6-band fully-swept parametric EQ and both
input and output paths’ processing order is easily
reconfigurable. It’s how the PRO X approaches these
facilities that bear closer inspection.
Dual Input Gains
The PRO X boasts two input gains per channel. First
is the remote analogue gain for that legendary
MIDAS microphone preamplifier, the second is a
digital gain.
Set the analogue gain for the desired amount of that
famous MIDAS “warmth”, then use the digital gain to
trim to your preferred gain structure.
The nucleus of the NEUTRON is a Super Audio Engine
that can process up to 800 audio paths.
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NEUTRON
The Most Powerful Audio System Engine
Dynamics Processing
The dynamics processing on the
PRO X’s input channel features
a frequency-conscious gate
and a choice of five different
compressor algorithms. Each
algorithm allows further creative
expression, as all feature variable
knee, internal and external sidechain filtering and colouration
artefact options.
Output bus compression
offers a choice of five different
options, designed to provide the
engineer with a broad palette for
maximum creative potential, right
down to the visual display on the
screen changing to support the
different styles. More dynamics processing options
are available in the FX rack, including multi-band
compression and dynamic equalisation.
FX Rack and Graphic EQs
The PRO X can simultaneously process up to
48 Virtual FX algorithms and NEUTRON’s 40 bit
floating-point audio processing hosts a wide choice
of virtual FX devices, which range from dual-mono
delay units, stereo modulation and many diverse
reverb FX, multiband compression, dynamic EQ and
multichannel dual-function dynamics processing.
Delay FX can be individually configured to
synchronise to the PRO X’s Global Tap-Tempo
hardware button, making on-the-fly changes to
delay effects child’s play.
Surround Panning
Free-Routing System
In addition to normal stereo
and SIS (Spatial Image System)
operation, the console can
operate in one of three surround
sound modes.
PRO X has up to 288 inputs x 294 outputs, with
point-to-point routing anywhere within the
network. These can be patched and routed on a
scene-by-scene basis via the powerful snapshot
automation system.
•
Quad 4-Channel – L-R front
plus L-R rear
•
LCRS 4-Channel – L-R-C plus
single rear channel
•
Quad 6-Channel – L-R-C plus
sub plus L-R rear
All three surround modes feature
a divergence control to tailor the
depth of the surround panning.
Dynamic surround panning can
be implemented using the consoles trackball, or the
USB pointing device of your choice.
192 Channel Multi-Core
NEUTRON has dual-redundant HyperMAC ports
(both Cat5e and Optical), which provides the digital
equivalent of a 192 in / 192 out multi-core between
the stage and Front of House.
Eight AES50 ports facilitate connections to the DL
Series stage boxes and other AES50 I/O hardware,
such as the KLARK TEKNIK DN9620 AES50 Extender
and DN9650 Network Bridge, make the NEUTRON
more than just a processing engine, it’s the heart
of a performance area network of the best in
audio technology.
Up to 36 1/3 octave KLARK TEKNIK DN370 Graphic
Equalisers (GEQs) are provided, which can be
patched into any output.
72 Aux Sends
All FX processors are custom-designed to function
within the MIDAS automatic latency compensation
system. This ensures a phase-coherent sampleaccurate mix regardless of whether the FX devices
are used as channel inserts or as a send-and-return.
(Sample-Synchronous, Phase Coherent)
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NEUTRON
The Most Powerful Audio System Engine
The Live Award 1993
PRO X - What You See is What You Get
Console
Inputs
Buses
Masters
Notes
Competitor D
163
90
2
Example configuration. Numbers may not exceed either available processing
blocks or bus paths, dependent on chosen proportion of inputs to bus
types and not exceeding maximum limit of 255 total paths. Includes set
minimums for specific path types and dependent on sample rate selected.
Competitor S
144
46
2
Example configuration. Total path count includes the 25% of capacity
without processing, but does not include unprocessed matrix. Channels
chosen from predefined types and selected within variable limits of
processed/unprocessed channels within each type.
PRO X
168
96
3
What you see is what you get. No ‘smoke and mirror’ DSP sharing, the PRO X
provides full channel count, full bus count and 96 kHz sampling. All the time.
Triple Redundant
Power Supplies
NEUTRON’s sleek 7U 19" rack mount unit contains
three removable power supplies, only two of which
are required for full operation.
These power supplies are auto-voltage sensing,
auto-switchover and are fitted with locking AC
connectors and are identical to, and therefore
interchangeable with, the PSUs in the PRO X
control centre.
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Triple redundant
power supplies for
enhanced reliability
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Legendary MIDAS
Sound Quality
Award-Winning
MIDAS Mic Preamplifier
NAMM TEC Nominee 2012
While the MIDAS PRO X design, styling and
construction will surely turn a lot of heads, it’s
the sound that matters most to engineers and
performing artists. And that’s where the PRO X
shines even brighter - as the latest in a long line of
pristine-sounding MIDAS consoles, it descends from
a celebrated lineage that literally set the standard
in electrical design and sound quality. Ever since
MIDAS consoles first found fame 40 years ago with
acts like Billy Joel, Yes, The Beach Boys, Pink Floyd
and others, the MIDAS legacy has always been
about uncompromising quality and the ultimate in
sound reproduction.
Built For Tomorrow
The PRO X is a console built for today and
tomorrow - driven by its future-proof 96 kHz open
architecture design and industry-leading audiophile
Cirrus Logic* multi-channel 192 kHz-capable A/D
converters, which boast a 114 dB dynamic range,
ensuring impressively low distortion and low
noise performance.
The MIDAS microphone preamplifier is considered
by leading live sound and recording engineers to be
the very essence of the famous MIDAS sound. More
than 40 years of design experience, paired with the
finest choice of premium-grade components lead to
the acclaimed warmth and depth, bring out subtle
ambience, maintain spacial positioning, and more
effectively capture a precise image. The acclaimed
sound of the award-winning MIDAS microphone
preamplifier has inspired generations of live
sound engineers to their best work, creating sonic
landscapes that have captivated audiences worldwide.
MIDAS PRO Series is an enhanced version of the classic
design found in the XL4 and HERITAGE series consoles,
which many consider to be the greatest analogue live
consoles ever built. Over the past decade the XL4 and
HERITAGE 3000 have been utilised by countless top
artists including Bon Jovi, Alanis Morrisette, AC/DC,
Coldplay, Kid Rock, Metallica, Alicia Keys, Foo Fighters,
Christina Aguilera, Sir Paul McCartney, Pearl Jam and
many more.
The PRO X draws from this same legacy to bring
you an elite professional level of audio quality
and performance.
Creating Sonic Landscapes
The MIDAS preamplifier design eliminates typical
imbalances of gain-setting stages, thereby improving
the common-mode rejection ratio (CMRR) and
harmonic distortion to an almost immeasurable level.
The constant high-frequency bandwidth topology
assures excellent stability, RF rejection and noise
performance at all gain levels, contributing to its
transparent, open and dynamic sound. But it doesn’t
end there; over the years many mix engineers have
found that this robust and overload-tolerant design
takes on a whole new dimension of sound when
driven hard, the pristine audiophile reproduction
giving way to just the right combination of harmonics,
a warm and organic sound heard by millions of
concert-goers and recorded for posterity on countless
live albums over the years.
Since pristine sound always begins with the
microphone preamplifier, the first point where
your signal enters the console, PRO X features
genuine MIDAS microphone preamplifiers which
faithfully reproduce every sonic detail, so no part of
a performance will ever be missed. Transparent and
pristine sound , low noise and high common-mode
rejection are all hallmarks of this classic design.
In MIDAS’ relentless pursuit for the ultimate in audio
performance, the microphone preamplifier used in
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MIDAS XL4
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The PRO X Control Centre
PRO X strikes the perfect balance in every design direction.
It mirrors the natural work flow of mix engineers to provide
effortless control and crystal clear feedback of system status at all
levels, from the highest overview to the finest detail.
The same engineering expertise that has seen the
rugged and roadworthy performance of MIDAS
consoles through the bumps and knocks of four
decades of world touring ensure that the PRO X
control surface is as solid as a rock, night after night.
LCD Channel Displays With Colour Coding
VCAs, POP Groups and Channel Navigation
Live sound engineers have typically used colour
when navigating mixing consoles by applying
different-coloured adhesive tape and swapping
coloured fader knobs to help make console
navigation faster and more intuitive.
At the heart of MIDAS console navigation are the
VCA and POPulation groups, which provide primary
access to multiple channels (typically grouped into
related clusters by mix engineers).
Daylight Viewable Screens
While some consoles claim daylight visibility, they
can easily become difficult or even impossible to
operate in high ambient lighting.
PRO X’s visual support is engineered to
remain exceptional.
Tested in the sweltering glare of the Nevada desert,
our daylight viewable screens are peerless when it
comes to providing visual, as well as audio clarity.
29 Precision, 100 mm MIDAS PRO Faders
The PRO X employs 29 of our world famous MIDAS
PRO Faders, rated for up to 1,000,000 cycles - three
times that of other leading manufacturers.
MIDAS have taken this established principle of
channel recognition and applied it to the control
surface. Channels and VCA/POP groups are easily
identified with assignable LED colour coding and
digital write-on buttons.
New Output Section
The PRO X control surface features an entirely new
output section that makes handling the potentially
huge number of buses a breeze. A page of 24 of the
possible 96 bus masters is displayed across three
rows of eight, each position easily identified by the
same kind of select switch as the channel bay.
To access all the channels belonging to any of the
VCA or POP groups, merely press the select switch
and those channels unfold to the control surface.
If you think of the VCA faders as if they were each
containers for all the channels they control then
finding channels becomes a natural and easy task.
This method is further expanded through the
provision of user customised POP (POPulation)
groups, which can contain any combination of
channels that you want to access instantly, at the
press of a switch.
The digital write-on name and RGB backlight colour
means ‘can’t miss’ selection. Pressing ‘to faders’ on
any row drops the master fader for those buses onto
the mix bay.
All of the buses can be scrolled through, in pages of
24, and when an output is added to a POP group, it
will unfold to the dedicated output section, making
it even easier to organise your workflow.
Legendary Sound
PRO X feels, as well as sounds superb. All the
variable controls on the console are genuine
analogue high precision potentiometers, not
mechanical encoders.
These access NEUTRON through precision
instrumentation A-D converters and MIDAS’s
custom interpolation algorithms. This means
that as well as all audio, all operator input is fully
interpolated to ensure a linear, analogue-style, silky
smooth ‘feel’ to your mix.
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The MIDAS PRO FaderRated for 1 Million Life Cycles
LCD Scribble Strips
Live Sound! Tin Ear Award 1995
In our pursuit to lead the industry in every possible
aspect, we decided to design the world’s most
reliable motor fader. We dove deep into materials
science, employing semi-precious metals that
offered the durability we desired. We took
painstaking care to design a motorised fader that
would provide continuous performance night after
night, year after year.
After spending a great deal of time working
with metal vendors, we developed precision
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components that offer high linearity, robustness,
and smooth feel during operation. We needed
ultra-straight high-grade steel rods with smooth
polished surfaces - and we got them. We worked
closely with our manufacturing partners to maintain
the tolerance of our parts, always choosing the most
suitable materials and controlling the process to
ensure consistent moulding quality and eliminating
the warping and deformation caused by shrinking
as the parts cool.
True, none of this was easy - we spent many long
hours developing the MIDAS PRO Fader design.
However the results speak for themselves.
MIDAS PRO Faders are rated for up to
1,000,000 cycles - three times that of other
leading manufacturers.
Total Visibility - Total Control
A total of 58 programmable LCD Scribble Strips
offer channel/bus identification that mirrors what is
being controlled.
Use them to enter input/output tags, then assign
colours to create visual groups for immediate, onthe-fly recognition of similar inputs.
Simple, elegant and effective - plus you’ll never
need masking tape again.
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The PRO X Control Centre
MCAs
MCA groups (Mix Control Association groups),
operate similarly to VCA groups, but are specific to
the selected mix. When the PRO X is in Advanced
Navigation mode, and MCA Navigation is engaged,
the MCA faders control the contributions of their
members only to the currently selected bus. This
is a unique and powerful mixing tool, which puts
the PRO X in a class of its own for innovation
and usability.
Advanced Navigation
The four modes of channel and mix bay navigation,
FLIP Navigation, FX Navigation, GEQ Navigation,
and MCA Navigation, allow an engineer to easily
and efficiently mix a large number of inputs on a
compact control surface. By obeying a simple set of
rules, this intelligent user interface helps to focus the
control surface on just the controls you need, when
you need them.
FLIP Navigation
Selecting an output flips the input faders to become
the input channel send levels to the selected output.
26
The console will only populate with the input
channels that are assigned to the selected output.
FX Navigation
Selecting an output patched to an internal FX
processor will deploy that FX processor on the
display screen and map the Assignable Controls to
the FX processor. If Fader Flip is also engaged, the
input channel faders will become the contributions
to the FX processor.
If Collapsed Flip is selected, the operator will only be
presented with input channels that are sending to
that FX processor.
GEQ Navigation
Selecting an output which has a GEQ assigned will
present the GEQ on the VCA faders. Scrolling the
VCA faders left and right will provide access to all 31
GEQ faders. If Fader Flip is also engaged, the input
channel faders will become the contributions to the
selected mix.
If Collapsed Flip is selected, the operator will only be
presented with input channels which are sending to
that mix.
PRO X has the ability to make working with the console as
simple as requirements dictate, or as deep and complex as your
creativity demands.
MCA Navigation
When an output (mix) is selected, the MCA faders for
that output will be deployed on the VCA fader bank.
The MCA faders control the contributions of their
members only to the currently selected bus. This is a
unique and powerful mixing tool, which puts PRO X
in a class of its own for innovation and usability.
local work surface, where they are quickly and easily
identified and changes implemented.
There are two independent stereo solo buses
available. Any input or output channel can be
assigned to either monitor bus. Allowing two
operators to work simultaneously or for stage
monitor and in ear monitor systems to be separated.
Dual Operation, Areas A and B
Three-Way KVM switch
MIDAS’s digital control surfaces can be divided
into two areas, Area A and Area B facilitating dual
operator use. The four-input channel area on the
far right of the PRO X surface can be designated as
Area B by selecting the Area B button located below
the scroll buttons in the ‘input select’ area. The
input control channels on the right-hand side of the
Control Centre can now be used independently of
those on the left.
The PRO X control surface incorporates a KVM switch
(Keyboard – Video – Mouse). This switch allows one
screen on the control surface plus the keyboard and
trackball to be switched to one of three external
computer connectors.
VCA and POPulation groups can be pre-selected to
populate either Area A or B. This means a group of
inputs can populate different areas of the surface.
The engineer brings the required inputs to their
This is a great way of reducing ‘clutter’ at the control
surface position. A control surface screen, keyboard
and trackball can be used to control up to three
other systems where the computers are placed
out of harm’s way. These external systems, such as
ProTools*, Waves* Multi-Rack, Shure* UHF-R radio
mics and Dolby Lake* System Controllers, then
appear on the PRO X control surface screen and are
controlled by the surface keyboard and trackball.
27
Automation
Virtual Effects Racks
The Live! Award 1995
All software versions, including stored shows on a USB stick, are
both forward and backward compatible, a show created on a
PRO-Series console can be loaded into another MIDAS console
regardless of the software version on either system.
MIDI messages and GPIO (contact closure) signals
can be sent and received by the MIDAS Console
Automation System to local I/O at the console
position and remotely to MIDAS I/O devices which
can be 500 m away.
Show-Wide Edits Via The Show Editor
Channel settings can be edited in advance of recall
– across any or all scenes – from the Show Editor,
and scenes can be re-ordered, inserted and deleted,
simply and quickly, without overwriting their
designation. Scenes can be recalled instantaneously,
with no discernible drop in audio, or via complex
crossfade options, including programmable
surround-sound panning events.
Flanger
Flanging is an audio effect produced by mixing
two identical signals together, one signal delayed
by a small and gradually changing period. This
effect imitates a traditional flanger effects unit with
variable Low Frequency Oscillator shape, ‘Thru-Zero’
which emulates real tape flanging, and also has
adjustable damping parameters.
Effects Algorithms
The PRO X includes an extensive array of onboard
effects, rendering outboard processing racks a thing
of the past.
1,000 Scene Automation System
The PRO X’s automation system can store and
recall up to 1,000 snapshot scenes. These contain
the audio parameter values for every control
on the console as well as the network routing,
configuration of the FX rack, and the format of the
mixer itself, all of which is scene-specific.
Scope
Hardware automation ‘safe’ buttons are provided
to enable the operator to quickly isolate selected
processing areas from recall should this be required
during a performance. In addition to these isolation
functions, the store and recall of scenes can be
‘scoped’ such that only the areas that the operator
28
wants to store or recall are affected (all other
controls remaining in their current state).
Routing Reassignment
NEUTRON’s comprehensive routing system can be
placed entirely under the control of the automation
system, enabling scene-by-scene changes of
input sources, output destinations, inserts and
virtual effects.
GPIO And MIDI Events Per Scene With
Time-Offsets
MIDI input and outputs are provided, for control of
external MIDI devices, or for recalling console events
from an external MIDI source.
The cutting-edge, 40-bit, floating-point DSP
processing hosts a wide choice of virtual FX
devices, which range from dual-stereo delay
units, stereo modulation and many diverse reverb
FX, to multiband compression, dynamic EQ and
multichannel dual-function dynamics processing.
This gives the PRO X the capability of providing up
24 simultaneous real-time effects engines which are
available without compromising any other audio
functionality. Custom-designed and physically
modelled after some of the most iconic and
sought-after processors, all effects run inside the
low-latency environment of the PRO X mix engine,
ensuring flawless performance, flexible routing and
the end of cable faults forever.
Phaser
A phaser is an electronic sound processor used
to filter a signal by creating a series of peaks and
troughs in the frequency spectrum. Our phaser is
loosely modelled after the Mu-Tron Bi-Phase, and
features variable shape sweep, variable stages and
stereo effects.
Dual Stereo Chorus
The chorus effect is achieved when individual
sounds with similar, though not identical timbres or
frequencies are combined. This effect is modelled
after the Boss Dimension C, its four presets are
based on the original, the Dual Stereo Chorus has
been modified to provide stereo width control and
it is a true stereo device.
29
Virtual Effects Racks
Live Sound! Tin Ear Award 1995
Pitch Shifter
Pitch shifting is a well-used sound recording
technique in which the original pitch of a sound is
changed either up or down for creative purposes.
The Stereo/Dual Pitch Shifter performs this function
perfectly, and also works particularly well at
thickening up monophonic instruments.
Variable Phase
The Variable Phase effect allows the user to alter the
phase of a signal by a variable amount. The unit has
eight variable phase inputs, each with a mono signal
with its own set of parameters, and the ability to
stereo link between each pair.
The effect works using two all-pass filters in series,
and controlling the centre frequency of the filters to
change the phase shift. The all-pass structure allows
for a flat magnitude-frequency response, however the
filters delay different frequencies by different amounts
resulting in a frequency-dependent phase shift.
Additional features have been added to this
fundamental design by allowing control over the
frequency range of the centre frequencies. The
Phase Frequency Range allows a greater range of
frequencies to be covered by the control. The user can
also switch between a 90º or 180º phase shift by using
the 180º / 90º Phase Shift button.
30
Sub Monster
DN60 Spectrum Analyser
Tape Saturation
The Sub Monster is a sub-harmonic synthesiser
effect which boosts the low frequencies of an
audio signal by generating an additional signal an
octave below a given frequency range. The aim of
this effect is to add low end to a signal which may
have weaker low frequency content, or to generally
increase the bass frequencies.
The function of an audio spectrum analyser is to
separate the components of any audio signal into
defined frequency bands, and to indicate the level
of energy present in each of those bands. The
Spectrum Analyser effect provides this functionality
across 31 discreet bands, and can also be used for
multichannel processing by allowing for switchable
inputs for complete flexibility. The display has two
banks of meter graphs, each with a set of eight
input switches, allowing any of the eight inputs to
be routed to either graph in any combination.
As its name suggests, the Tape Saturation effect
emulates analogue tape saturation; when the
amount of magnetised particles required to fully
record and reproduce an audio signal exceeds the
amount available. This can be heard as analogue
‘warmth’, and similar effects can be achieved in
the digital domain by emulating various analogue
tape artefacts.
The Sub Monster works particularly well on drum
tracks, especially bass drums, and when applied
to an overall mix. When placed on individual
instruments it can create a sub-octave doubling
effect, which works well when applied to
monophonic sounds.
The effect has five tunable bands of sub-octave
synthesis, each with its own gain control. The
frequencies on which the bands are centred are
controlled using the tune parameter, which controls
all five bands’ centre frequencies to reduce overlap.
The tune parameter ranges from 10 Hz to 30
Hz which corresponds to the frequency of the
lowest generated sub-harmonic band, with each
subsequent band having a minimum and maximum
frequency of 1.5x the previous band’s minimum and
maximum frequency. This gives a total range of subharmonic synthesis between 10 Hz and 150 Hz.
Also included are three frequency weighting curves,
which can be selected using the Weight parameter.
Weighting curves are a set of factors that are used
to weigh measured values to a certain frequency
response. The main reason for this is to allow for the
response of human hearing. Recent research into
the response of the human ear has revealed a flatter
response in the higher frequencies at high sound
pressure levels. Therefore this parameter can be
switched between Flat, the traditional weighting A,
and the more recently developed weighting C.
The Compare mode allows the user to select
any two signals and display a comparison of
the frequency spectrum across the two graphs.
Essentially the two displays become one, with the
top display showing positive differences between
the comparison signals, and the lower display
inverted to show negative differences. The scale on
the display will also change to compensate.
An example of this is tape’s tendency to compress
the high frequencies in ‘transients’, or peaks in the
audio signal, and while this is a side-effect of using
analogue tape, it can also be desirable when trying
to achieve a vintage tape sound. This effect can be
altered by use of the Transient Smoothing control.
Another way to achieve that nostalgic tape sound
is by the creative use of biasing; most professional
tape machines are set up to compensate for this, in
other words, to be slightly overbiased. The Overbias
control is used to emulate this by reducing the
amount of tape distortion at the expense of the
high frequencies and transients. The limit of the
high frequency response is also controlled by the
overall frequency response of the tape process, and
this in turn is affected mainly by utilising different
tape speeds. Slower tape speeds (3.1 / 4 / 7.5 ips)
have less high frequency definition and a boost at
low and mid frequencies, whereas higher speeds (15
/ 30 ips) have better high frequency representation
and less extreme lower ends resulting in more
accurate audio reproduction.
31
Virtual Effects Racks
Live! Gold Award 1996
With DN370, KLARK TEKNIK started from the ground
up and produced a unit that was totally without
compromise, and still considered one of the finest
professional graphic equalisers in the world.
Dual Stereo Delay
Vintage Room Reverb
The big brother of the digital delay, the dual stereo
delay houses two independent stereo delays with
nudge control, BPM/time control and flexible
damping filters.
Feeling nostalgic? The Vintage Room Reverb is
ideal for mixes or sub-groups as it adds space to
complex signals - highly valued in classical music
and broadcast environments. And while the
sound might take you straight back to the 70s, the
streamlined user interface has been designed to be
instantly accessible and user friendly, with all the
controls on one panel.
Lovingly modelled after the original renowned
KLARK TEKNIK device, the DN780 reverb features the
original presets (Hall, Plate, Room, Chamber, ALIVE!,
Non-linear, Reverse, Infinite room).
Delay
Hall Reverb / Plate Reverb
Two classic reverb algorithms inspired by the gold
standard of digital reverb, the Lexicon 480L*.
Modelled after the industry standard, the Dynamic
EQ features 4 stereo bands with lightning fast filter
updates and almost instantaneous reaction to
changing source material.
KLARK TEKNIK DN780
KLARK TEKNIK SQ1 Dynamics
Eight channels of dual-mode compression/gating
with iTS hysteresis and highly flexible channel
linking. The compressor features RMS or “Vintage”
peak sensing with hard and soft knee responses,
and the side chain band pass filter allows both
frequency-conscious compression and gating.
where it became a must-have tool for achieving that
perfect pitch.
Stereo 3 Band Compressor
Traditional dynamic range compression reduces the
volume of loud sounds and amplifies quiet sounds
by narrowing an audio signal’s dynamic range.
Our stereo 3-band compressor is an extremely
transparent multi-band compressor that can also be
adjusted over three frequency ranges to fine-tune
the output signal to perfection.
First achieved by studio pioneers using loops of
audio tape, the delay is now a much more refined
affair. The PRO X Delay is a tempo or time-based
emulation of a ‘Bucket-Brigade’ analogue delay
with normal/cross feedback, delay time and highfrequency damping modulation.
Ambience Reverb
Matrix Mixer
The Ambience effect provides a three dimensional
room sound to closely-miked or direct-injected
(DI) sources, and its strong early reflections create
a spacious sound field with depth and warmth,
without colouration of the original signals.
Need additional functionality to route multiple
input audio signals to multiple outputs? Then
look no further than this 8-input / 8-output Matrix
Mixer, which features delays on both input and
output channels and a 4-band parametric EQ on
each output.
The Ambience effect increases the perceived depth
in the sound field whilst maintaining the perceived
position in the stereo field. It is modelled on the
Lexicon PCM91* Ambience effect.
32
Stereo Graphic EQ
This Stereo Graphic EQ is a stereo version of the
KLARK TEKNIK DN370 GEQ algorithm used on
PRO X’s output buses.
On its release in 2004, the KLARK TEKNIK DN370
was the latest evolutionary step in a process of
design refinement that goes back over 40 years.
Dynamic EQ
EQ has been around since before electronic
amplification, and originally used to compensate for
the uneven frequencies on telephone lines. Then
it fell into the hands of studio and live engineers
In a live environment, it is perfect for optimising the
blend of sounds going to various locations within
the performance space.
33
Connectivity and I/O
DL151 Audio System I/O
24 Input Stage Box with 24 MIDAS
Microphone Preamplifiers
•
DL152 Audio System I/O
24-Output Stagebox
•
24 electronically balanced low impedance line
level outputs
With a wide range of modular and fixed I/O units, the number and
configurations can easily be expanded for complex applications or
simply streamlined for less demanding duties.
DL153 Audio System I/O
16 Input, 8 Output Stage Box with 16 MIDAS
Microphone Preamplifiers
DL154 Audio System I/O
8 Input, 16 Output Stage Box with 16 MIDAS
Microphone Preamplifiers
•
16 award-winning MIDAS microphone
preamplifiers with switchable +48 V
phantom power
•
6 award-winning MIDAS microphone
preamplifiers with switchable +48 V
phantom power
•
8 electronically balanced low impedance line
level outputs
•
8 electronically balanced low impedance line
level outputs
•
Remote operation up to 100 m via CAT5/5e cable
•
Remote operation up to 100 m via CAT5/5e cable
•
24 bit audio operation with 96 kHz sample rate
•
24 bit audio operation with 96 kHz sample rate
24 award-winning MIDAS microphone
preamplifiers with switchable +48 V
phantom power
•
Remote operation up to 100 m via CAT5/5e cable
•
24 bit audio operation with 96 kHz sample rate
•
Remote operation up to 100 m via CAT5/5e cable
•
•
24 bit audio operation with 96 kHz sample rate
Open architecture allows for future
48 kHz operation
•
Open architecture allows for future
48 kHz operation
•
All settings programmable from front panel
controls or console
•
All settings programmable from front panel
controls or console
•
PSU status indicator LEDs and configuration LCD
display on front panel
•
Open architecture allows for future
48 kHz operation
•
Open architecture allows for future
48 kHz operation
•
PSU status indicator LEDs and configuration LCD
display on front pane
•
Supports dual redundant AES50 networks
•
•
•
All settings programmable from front panel
controls or console
•
Supports dual redundant AES50 networks
Features Neutrik etherCON* AES50
network ports
All settings programmable from front panel
controls or console
•
•
•
Features Neutrik etherCON* AES50
network ports
•
Rugged 2U rackmount chassis for durability in
portable applications
PSU status indicator LEDs and configuration LCD
display on front panel
PSU status indicator LEDs and configuration LCD
display on front panel
•
Supports dual redundant AES50 networks
•
Supports dual redundant AES50 networks
•
Rugged 2U rackmount chassis for durability in
portable applications
•
Auto-ranging universal switch-mode
power supply
•
Features Neutrik etherCON* AES50
network ports
•
Features Neutrik etherCON* AES50
network ports
•
Auto-ranging universal switch-mode
power supply
•
3-Year Warranty Program**
•
•
•
Designed and engineered in England
Rugged 2U rackmount chassis for durability in
portable applications
Rugged 2U rackmount chassis for durability in
portable applications
•
3-Year Warranty Program**
•
•
•
Designed and engineered in England
Auto-ranging universal switch-mode
power supply
Auto-ranging universal switch-mode
power supply
•
3-Year Warranty Program**
•
3-Year Warranty Program**
•
Designed and engineered in England
•
Designed and engineered in England
34
35
Connectivity and I/O
DL155 Audio System I/O
16 Input, 16 Output Stage Box with 8 MIDAS
Microphone Preamplifiers and AES3 Digital Interface
•
8 award-winning MIDAS microphone
preamplifiers with switchable +48 V
phantom power
•
8 AES3 (AES/EBU) digital inputs and outputs
•
8 electronically balanced low impedance line
level outputs
DL251 Audio System I/O
48 Input, 16 Output Stage Box with 48 MIDAS
Microphone Preamplifiers
DL252 Audio System I/O
16 Input, 48 Output Stage Box with 16 MIDAS
Microphone Preamplifiers
DL231 Audio System Input Splitter
24 Input, 24 Output Active Microphone Splitter with
2 Independent MIDAS Microphone Preamplifiers
•
48 award-winning MIDAS microphone
preamplifiers with switchable +48 V
phantom power
•
16 award-winning MIDAS microphone
preamplifiers with switchable +48 V
phantom power
•
2 award-winning MIDAS microphone
preamplifiers per channel with switchable +48 V
phantom power
•
Remote operation up to 100 m via CAT5/5e cable
•
24 bit audio operation with 96 kHz sample rate
•
Open architecture allows for future
48 kHz operation
•
All settings programmable from front panel
controls or console
•
•
PSU status indicator LEDs and configuration LCD
display on front panel
48 actively balanced low impedance line
level outputs
•
•
16 actively balanced low impedance line
level outputs
2 dual redundant AES50 network ports with
independent phase-locked loop synchronisation
•
Selectable 96 kHz or 48 kHz sample rate operation
•
•
•
Supports dual redundant AES50 networks
•
Remote operation up to 100 m via CAT5/5e cable
Selectable 96 kHz or 48 kHz sample
rate operation
•
Features Neutrik etherCON* AES50
network ports
•
All settings programmable from front panel
controls or console
•
Remote operation up to 100 m via CAT5/5e cable
24 electronically balanced output channels can
be sourced from microphone preamplifiers or
AES50 ports
•
•
Remote operation up to 100 m via CAT5/5e cable
•
Rugged 2U rackmount chassis for durability in
portable applications
•
All settings programmable from front panel
controls or console
•
24 bit audio operation with 96 kHz sample rate
•
•
•
Auto-ranging universal switch-mode
power supply
•
3 AES50 network ports for redundant connections
PSU status indicator LEDs and configuration
switches on front panel
All settings programmable from front panel
controls or console
•
Features Neutrik etherCON* AES50 network ports
•
•
•
3-Year Warranty Program**
•
PSU status indicator LEDs and configuration LCD
display on front panel
•
Designed and engineered in England
Rugged 5U rackmount chassis for durability in
portable applications
3 AES50 network ports for redundant
connections
•
Features Neutrik etherCON* AES50 network ports
•
Features Neutrik etherCON* AES50 network ports
36
PSU status indicator LEDs and configuration
switches on front panel
•
Dual redundant auto-ranging universal
switch-mode power supplies
•
Rugged 5U rackmount chassis for durability in
portable applications
•
Rugged 5U rackmount chassis for durability in
portable applications
•
3-Year Warranty Program**
•
•
•
Designed and engineered in England
Dual redundant auto-ranging universal
switch-mode power supplies
Dual redundant auto-ranging universal switchmode power supplies
37
•
Features Neutrik etherCON* AES50
network ports
•
Remote operation up to 100 m via CAT5/5e cable
•
Rugged 6U rackmount chassis for durability in
portable applications
All settings programmable from front panel
controls or console
•
•
Dual redundant auto-ranging universal switchmode power supplies
PSU status indicator LEDs and configuration LCD
display on front panel
•
•
3-Year Warranty Program**
4 AES50 network ports for redundant
connections
•
Designed and engineered in England
•
Two GPIO 25-pin D-type opto-isolated
connectors for external device control
•
MIDI In, Out and Thru connectors
•
Features Neutrik etherCON* AES50
network ports
DL451 Audio System Modular I/O
Modular Stage Box with 3 Card Slots and up to
24 Inputs and 24 Outputs
•
Rugged 7U rackmount chassis for durability in
portable applications
•
Modular stage box accepts 3 DL4 series I/O cards
•
Dual redundant auto-ranging universal switchmode power supplies
•
Up to 24 audio inputs and 24 audio outputs
•
24 bit audio operation with 96 kHz sample rate
•
3-Year Warranty Program**
•
Remote operation up to 80 m via CAT5/5e cable
•
Designed and engineered in England
•
All settings programmable from front panel
controls or console
•
PSU status indicator LEDs and configuration LCD
display on front panel
•
Supports dual redundant AES50 (X and Y)
networks
•
DL431 Audio System Input Splitter
24 Input, 72 Output Active Microphone Splitter with
Independent MIDAS Microphone Preamplifiers
Neutrik Quality
•
24 channel microphone splitter with
2 electronically and 1 transformer balanced
outputs per channel
•
2 award-winning MIDAS microphone
preamplifiers per channel with switchable +48 V
phantom power
•
Two GPIO 25-pin D-type opto-isolated
connectors for external device control
•
MIDI In, Out and Thru connectors
•
2 independent dual redundant AES50 (X and Y)
network ports
•
Features Neutrik etherCON* AES50
network ports
•
Local channel monitoring with integrated
headphone amplifier
•
Rugged 3U rackmount chassis for durability in
portable applications
•
Auto-ranging universal switch-mode
power supply
•
3-Year Warranty Program**
•
Designed and engineered in England
DL351 Audio System Modular I/O
Modular Stage Box with 8 Card Slots and up to 64
Inputs and 64 Outputs
•
24 bit audio operation with 96 kHz sample rate
•
Remote operation up to 80 m via CAT5/5e cable
•
All settings programmable from front panel
controls or console
•
Modular stage box accepts 8 DL4 series I/O cards
•
Up to 64 audio inputs and 64 audio outputs
PSU status indicator LEDs and configuration LCD
display on front panel
•
24 bit audio operation with 96 kHz sample rate
•
38
For more than four decades MIDAS and
KLARK TEKNIK has designed and built the industry’s
finest products.
In our relentless drive to build the world’s best pro
audio products, we have decided to only employ
Neutrik connectors known for their impeccable
quality and reliability of their products.
39
HyperMAC Snake
The engine has dual-redundant HyperMAC ports
(both Cat 5e and Optical), which provides the digital
equivalent of a 384-way (192 in + 192 out) multi-core
between the stage and FOH, up to 500m.
Redundancy
You can depend on PRO X. The control centre has
dual-redundant control computers, the snake has
dual-redundant CAT5e connections, NEUTRON
carries a redundant processing card and both PRO X
and NEUTRON have N+1 redundant power supplies.
40
No other console goes further to setting your
mind at ease. This means that during a show you
might not be able to relax completely, but you can
concentrate on what’s most important and give
your full attention to the matter at hand; treating
the audience to a flawless sonic experience without
missing a beat.
Local I/O
The rear panel of the PRO X houses three userconfigurable I/O modules. As standard, the control
surface is fitted with eight mic/line inputs, eight line
out XLRs and four pairs of AES/EBU digital I/O.
Ethernet Tunnel
The HyperMAC digital snakes feature additional
bandwidth for third party data transfer. Protocols
supported include standard Ethernet traffic, MIDI
messages and GPIO (General Purpose Input and
Output signalling).
This third party support offers great advantages
because it avoids extra cables, extends the range of
MIDI a long way beyond normal limits and provides
an Ethernet tunnel between the stage and the
mix position.
Applications include carrying control signals from
any network-equipped computer at FOH to a radio
mic receiver rack on stage and similarly, control
signals from a computer to a system controller
on stage.
External standard Ethernet network hubs can be
used to connect many different systems together
via the MIDAS HyperMAC snake, which also provides
redundancy in case of cable damage.
The Ethernet tunnel provides a 10 Mbit/sec
standard Ethernet connection from an etherCON*
RJ-45 connector on the control surface to a similar
connector on NEUTRON for use by third parties.
41
PRO X Versatility
Single Console
PRO X Versatility
Multi-Console
SOS Award Winner 2014
The most cost-effective way to connect a single
console is to use four DL251 analogue input boxes
and one DL252 analogue output box connected
to NEUTRON.
This gives a total of 160 analogue inputs and 96
analogue outputs on stage, and the modular local
I/O at FOH (eight mic/line inputs, eight line outputs
and four pairs of AES/EBU as standard).
When two PRO X systems are used in a FOH/monitor
set up, the most cost-effective I/O configuration
is to use six DL231 input splitters, which gives 144
analogue inputs, 144 analogue outputs shared
between the two systems, with independent
analogue mic amp gain control for each system.
DL231 Input Splitter
DL251 Analogue Input
24 Analogue Input
24 Analogue Output
(e.g. Monitors)
48 Analogue Input
16 Analogue Output
PRO X Monitor Console
500 m
NEUTRON
48 Analogue Input
16 Analogue Output
24 Analogue Input
24 Analogue Output
(e.g. Monitors)
AES50
100 m
48 Analogue Input
16 Analogue Output
24 Analogue Input
24 Analogue Output
(e.g. Monitors)
500 m
DL252 Analogue Output
HyperMac
(192+192)
16 Analogue Input
48 Analogue Output
24 Analogue Input
24 Analogue Output
(e.g. Monitors)
NEUTRON
(Monitors)
AES50 “A”
AES50 “B”
100 m
NEUTRON
(FOH)
24 Analogue Input
24 Analogue Output
(e.g. FOH)
500 m
HyperMac
(192+192)
PRO X Console
24 Analogue Input
24 Analogue Output
(e.g. FOH)
PRO X FOH Console
42
43
PRO X Versatility
Extended System
The Readers’ Choice Award 2014
KLARK TEKNIK
AES50 Repeaters and Extenders
Legendary pro audio brand and sister company
KLARK TEKNIK’s HyperMAC and AES50-compatible
SuperMAC technologies provide the networking
backbone for MIDAS’ digital console systems.
A range of products are offered that expands
the scope and functionality of MIDAS’ already
impressive networked digital console systems.
The 100 metre limit of CAT5/5e cable is addressed by
the DN9610 AES50 Repeater which can extend two
AES50 connections up to a further 100 metres over
CAT5/5e cable, and the DN9620 Dual Port AES50
Extender and DN9680 8 Port AES50 Extender can
both extend AES50 connections up to 100 metres
over CAT5/5e cable, or up to 500 metres and
1,000 metres respectively over optical fibre.
DN9610 AES50 Repeater
Dual Port AES50 Repeater with up to
100 Metre Range
•
•
•
•
44
DN9680 8 Port AES50 Extender
8 Port AES50 Extender and Multiplexer with up to
1000 Metre Range
DN9620 Dual Port AES50 Extender
Dual Port AES50 Extender and Multiplexer with up
to 500 Metre Range (Pair)
•
Multiplexes up to 8 AES50 connections into one
optical fibre cable or CAT5 cable
•
•
Pair of DN9620 Dual Port AES50 Extenders and
19" rackmount adapter bracket
Extends AES50 connections up to 1,000 m with
optical fibre or 100 m with CAT5 cable
•
•
Extends two AES50 connections by 500 m with
optical fibre or 100 m with Cat5 cable
High channel capacity with 192 bidirectional
channels @ 96 kHz
•
•
High channel capacity - 48 channels @ 96 kHz or
96 channels @ 48 kHz bidirectional operation
Internal “AES Grade 1” temperaturecompensated word clock (1 ppm)
•
•
Supports dual-redundant AES50 networks
(X and Y connections)
Supports dual-redundant AES50 networks (X
and Y connections)
•
•
Neutrik etherCON* connectors used for AES50
ports and copper snake connection
Neutrik etherCON* connectors used for AES50
ports and copper snake connection
•
•
Dual-fibre Neutrik opticalCON DUO* connector
used for optical fibre snake connection
Dual-fibre Neutrik opticalCON DUO* connector
used for optical fibre snake connection
•
Internal web server allows browser-based
configuration via Ethernet control port
•
Status indicator LEDs on front panel for each
AES50 port
•
Comprehensive clock source options with front
panel push button selection and LED indication
•
•
•
Extends two independent AES50 connections by
up to 100 m with CAT5 cable
Dual-redundant power supply inputs with
locking Switchcraft* connectors
Rugged 1U rackmount chassis for durability in
portable applications
•
•
High channel capacity - 48 channels @ 96 kHz or
96 channels @ 48 kHz bidirectional operation
External auto-ranging universal switch-mode
power supply adapter
Status indicator LEDs on front panel for
each AES50 port and optical and copper
snake connections
Auto-ranging universal switch-mode
power supply
•
•
Aluminium extrusion casing with stackable
protective silicone rubber sleeve
Rugged half-width 1U rackmount chassis for
durability in portable applications
•
3-Year Warranty Program**
•
Designed and engineered in England
•
Auto-ranging universal switch-mode
power supply
Supports dual-redundant AES50 networks
(X and Y connections)
Rugged locking Neutrik* etherCON connectors
used for AES50 connections
•
Compact and rugged design
•
3-Year Warranty Program**
•
3-Year Warranty Program**
•
Designed and engineered in England
•
Designed and engineered in England
45
PRO X Versatility
Extended System
Network Bridges
The DN9650 and DN9652 Network Bridges provide
a unique solution to a common problem: How to
interface otherwise incompatible audio network
protocols? At the heart of these units is a massive
64 channel bidirectional asynchronous sample
rate converter (ASRC), which is a proprietary KLARK
TEKNIK technology, and facilitates two completely
separate clock domains which can operate at
different sample rates and bit lengths.
The DN9650 Network Bridge provides an interface
between three AES50 connections and other
network standards including as MADI, Audinate
Dante*, and Cirrus CobraNet* using network
modules compatible with the Cirrus CM-1* form
factor, whilst the DN9652 Dual Network Bridge
offers the ability to interface two such modules.
•
Video synchronisation in PAL/SECAM/NTSC
formats in standard and high definition
•
Video Synchronisation in PAL/SECAM/NTSC
formats in standard and high definition
•
Internal “AES Grade 1” temperaturecompensated word clock (1 ppm)
•
Internal “AES Grade 1” temperaturecompensated word clock (1 ppm)
•
Internal web server allows browser-based
configuration via Ethernet control port
•
Internal web server allows browser-based
configuration via Ethernet control port
•
Status indicator LEDs and LCD display on
front panel
•
Status indicator LEDs and LCD display on
front panel
•
Features Neutrik etherCON* network ports
•
Features Neutrik etherCON* network ports
•
Rugged 1U rackmount chassis for durability in
portable applications
•
Rugged 1U rackmount chassis for durability in
portable applications
DN9331 Helix Rapide Graphic Controller
31 Band Motorised Fader Graphic Controller
•
Auto-ranging universal switch-mode
power supply
•
Auto-ranging universal switch-mode
power supply
•
Rapid response 100 mm motorised faders
provide instant recall of channel EQ settings
•
3-Year Warranty Program**
•
3-Year Warranty Program**
•
•
Designed and engineered in England
•
Designed and engineered in England
Compatible with MIDAS XL8 and all PRO Series
digital consoles
•
4 banks with 32 channel selections – allows
control of up to 128 EQ channels
•
4 EQ group assignments with global
“Select All’ group
•
MIDAS Solo Tracking System for automatic recall
of channel EQ curves
•
Simultaneous control of MIDAS graphic EQs and
KLARK TEKNIK HELIX equalisers
•
Integrated 8-port Ethernet hub with Neutrik
etherCON* connectors
Graphic Controller
The DN9331 Helix Rapide Graphic Controller
brings the familiarity and immediacy of classic
KLARK TEKNIK analogue graphic equalisers such as
DN27, DN360 and DN370 to the digital world. Instant
recall of fader positions is made possible by the
use of 31 console-quality 100 mm long travel high
resolution motorised faders.
DN9650 Network Bridge
AES50 Network Bridge Format Converter with up
to 64 Bidirectional Channels and Asynchronous
Sample Rate Conversion
DN9652 Dual Network Bridge
Dual Network Bridge Format Converter with up
to 64 Bidirectional Channels and Asynchronous
Sample Rate Conversion
•
•
•
Converts between MADI, Audinate Dante*, Cirrus
Logic CobraNet* and Digigram EtherSound*
Rugged 6U rackmount chassis for durability in
portable applications
•
•
Bidirectional Asynchronous Sample Rate
Conversion on every channel with bypass facility
Auto-ranging universal switch-mode
power supply
•
3-Year Warranty Program**
•
Designed and engineered in England
Converts between AES50 and MADI, Audinate
Dante*, Cirrus Logic CobraNet* and Digigram
EtherSound*
•
Asynchronous sample rate conversion on every
channel with bypass facility
•
•
Bidirectional output audio clock inhibit feature
for redundant network systems
Bidirectional output audio clock inhibit feature
for redundant network systems
•
•
24 bit audio operation with 96 kHz and 48 kHz
sample rates
24 bit audio operation with 96 kHz and 48 kHz
sample rates
46
47
PRO X Versatility
Extended System
Remote Control
NAMM TEC Nominee 2014
DL251 Analogue Input
AES50
Key Features
48 Analogue Input
16 Analogue Output
•
Supports multiple simultaneous iPad
connections
48 Analogue Input
16 Analogue Output
•
Quick navigation page featuring all
level metering
•
Mix view for all channel types includes meters,
fader, mute and solo
•
Flip mode to control bus contributions
•
VCA flip mode provides control of MCAs
•
Channel detail area for precise parameter control
Delivering an unprecedented range of control
and mobility, the MIXTENDER 2 App has been
completely re-imagined with input from the very
engineers who know MIDAS mixers best.
•
KT DN370 GEQ control
•
Demo mode for previewing app and
console features
Combining control of most key functions with
responsive system metering, engineers can take
control of any PRO Series or XL8 console using
an iPad. Support for multiple simultaneous iPad
devices allows FOH and monitor engineers to work
collaboratively from any location in the venue.
•
Pan and delay controls
•
Bus mix mode display and editing
•
Parametric EQ with safety locks
•
Full screen EQ editing
MIXTENDER 2’s new features include full-screen EQ
editing which allows accurate tweaks of individual
channel signals.
•
In-place output GEQ editing
•
Channel naming & colour selection
•
VCA and POP group unfolding and
member editing
•
GEQ rack view
•
GEQ full-screen zoom view
•
GEQ copy and paste
•
GEQ reset
•
Solo B indicator on channel strip
48 Analogue Input
16 Analogue Output
100 m
DL152 Analogue Output
24 Analogue Outputs
AES50
KLARK TEKNIK
DN9680
MIXTENDER 2 (iPad*)
100 m
HyperMac
(192+192)
KLARK TEKNIK
DN9610
1 km
100 m
KLARK TEKNIK
DN9680
AES50
KLARK TEKNIK
DN9610
100 m
100 m
AES50
AES50
NEUTRON
HyperMac
(192+192)
500 m
DL151 Analogue Input
24 Analogue Inputs
AES50
100 m
KLARK TEKNIK DN9650
Network Bridge
AES50
100 m
3rd Party Audio Network
AES50 (with sample rate conversion)
Audinate Dante
MADI
Cirrus Logic CobraNET
Digigram Ethersound
Aviom A-Net
Modular Local Input
Up to 24 In (analogue, AES3)
Up to 24 Out (analogue, AES3)
With the new VCA and POP group unfolding and
member editing function, managing these unique
console functions becomes a simple and easy
task. Plus, using the quick navigation page with
comprehensive level metering, engineers can track
all signals while away from the console.
All that’s needed to unleash the power and
versatility of remote mixing is a wireless network
and the free download. Comprehensive on-the-go
control is just a touch away.
PRO X Console
48
49
Remote Control
Specifications
Live Sound! Tin Ear Award 1996
Frequency Response
Input
Output
Gain
20 Hz
20 kHz
Surface I/O
Surface I/O
0 dB
0 dB to -1.0 dB
0 dB to -1.0 dB
Surface I/O
Surface I/O
40 dB
0 dB to -1.0 dB
0 dB to -1.0 dB
Input
Output
Gain
Max
Min
Surface I/O
Surface I/O
0 dB
+1.0 dB
-1.0 dB
Surface I/O
Surface I/O
40 dB
+1.0 dB
-1.0 dB
Gain Error @ 1 kHz
Input CMRR
PALMMIX ((iPhone*)
Offline Editor (Mac*)
MIDAS PALMMIX is a personal monitoring iPhone
application, which provides users with wireless
remote control for key functions of the PRO X.
The MIDAS Offline Editor allows you to create, edit
and view show files for the PRO X on any Intel-based
Apple Macintosh* computer running OS X 10.8 or
later. Prepare shows ahead of time, learn the console
operation, migrate your PRO Series or XL8 shows
or vice versa – all from the comfort of your room
without access to a console.
The MIDAS PALMMIX application provides simple,
direct and fast control over the signal sends that
matter most to the on-stage performer.
Key Features
•
Offers targeted control over one mix bus
•
Four fader strips for controlling important
channel sends and MCAs
•
Support for stereo sends and linked channels
•
Pop-out bus master fader
•
Displays VCA and mute group membership of
selected channels
•
•
50
Input, compressor and gate meters
for displayed channels
Multiple iPhone and iPad devices can be
used simultaneously
The Offline Editor allows full control of all
parameters – including creation of show files,
management of pre-set libraries, system setup and
patching and so on: anything you can do on the
console you can do on the Offline Editor, without
learning any new operational methods.
The MIDAS Offline Editor runs in exactly the same
manner as the console software, you load and save
your show to and from a USB key and import onto
your control centre in the normal way.
Input
Output
Gain
100 Hz
1 kHz
Surface I/O
Surface I/O
0 dB
60 dB
60 dB
Surface I/O
Surface I/O
40 dB
90 dB
90 dB
Input
Output
Gain
1 kHz
10 kHz
Surface I/O
Surface I/O
0 dB
0.01%
0.01%
Surface I/O
Surface I/O
40 dB
0.03%
0.03%
Input
Output
Gain
1 kHz
10 kHz
Surface I/O
Surface I/O
0 dB
0.03%
0.03%
Surface I/O
Surface I/O
40 dB
0.03%
0.03%
Distortion @ 0 dBu
Distortion @ +20 dBu
Mixing Noise (all bus types) 22-22 kHz, Unweighted
No of Inputs
Gain
Fader Pos
Pan
Output Noise
12
0 dB
-infin
Central
-91 dBu
12
0 dB
0 dB
Central
-78 dBu
24
0 dB
-infin
Central
-91 dBu
24
0 dB
0 dB
Central
-75 dBu
48
0 dB
-infin
Central
-91 dBu
48
0 dB
0 dB
Central
-72 dBu
Signal Path Noise 22-22 kHz, Unweighted (inputs 150 Ω terminated)
Input
Output
Gain
Output Noise
EIN
Surface I/O
Surface I/O
0 dB
-85 dBu
-85 dBu
Surface I/O
Surface I/O
45 dB
-82 dBu
-127 dBu
Dynamic Range 22-22 kHz, Unweighted
Input
Output
Gain
Max Output
Dynamic Range
Surface I/O
Surface I/O
0 dB
+21 dBu
106 dB
Surface I/O
Surface I/O
45 dB
+21 dBu
103 dB
51
Specifications
System Specifications
Control Surface Analogue Audio System Outputs
Sampling Frequency
96 kHz
Connector 3 pin XLR balanced
Latency Delay
< 2mS, Input to Master (no compensation)
DA Converter
24 bit, 96 kHz and 128 times over sampling
Dynamic Range
106 dB, 22 Hz – 22 kHz (no pre emphasis)
Monitor Connector
3 pin XLR balanced line
80 dB, Inputs to Sub Groups and Masters
Talk Connector 3 in XLR balanced line
86 dB, Inputs to Aux and Matrix
Headphone Connector
¼ inch Jack (stereo)
Maximum Voltage Gain
Crosstalk @ 1 kHz
-100 dB, physically adjacent input channels
Crosstalk @ 10 kHz
-90 dB, physically adjacent input channels
Fader/Pan cut off @ 1 kHz
-100 dB
Fader/Pan cut off @ 10 kHz
-100 dB
Power Requirements
100-240 V a.c. ±10% 50-60 Hz
Operating Temperature Range
+5 to +45 degrees C
Storage Temperature Range
-20 to +60 degrees C
System Inputs and Outputs
Control Surface Inputs Connector
3 pin XLR balanced
AD Converter
24 bit, 96 kHz and 128 X oversampling
Control Surface Analogue Outputs Connector
3 pin XLR balanced
DA Converter
24 bit, 96 kHz and 128 X oversampling
MIDI Connector
In, Out and Thru on 5 pin DIN
Input Connector
AES3 (two channels of digital audio) on 3-pin XLR
Sample Rates
48 kHz, 96 kHz or auto tracking to inputs
Bypass
Sample rate converter can be bypassed
Word Length
16, 20 or 24 bit Output Connector
AES3 (two channels of digital audio) on 3-pin XLR
Control Surface Control Data System Inputs and Outputs
System Connector
Ethercon XLR
Control Surface Misc Inputs and Outputs
Monitor Output Connector
3 row 15 pin D TYPE – analogue VGA
USB Host Connection
USB 2.0 full speed (12.0 Mbs)
5 V, 1A max load
Control Surface Digital System Inputs and Outputs
Lamp Connector
3 pin XLR
System Connector
3 X AES50 (24 channels of bidirectional digital audio)
Word Clock IN Connector BNC
Word Clock OUT Connector
BNC
AES3 Sync IN Connector 3 pin XLR
Input Type
Load Z
Gain
Max. Level
Connector
AES3 Sync OUT Connector
3 pin XLR
Surface I/O
10 kΩ
-22.5 dB to +65 dB
+21 dBu
XLR
Talk Mic
600 Ω
+15 dB to +60 dB
+6 dBu
XLR
Monitor
10 kΩ
0 dB
+21 dBu
XLR
Control Surface Analogue Audio System Inputs
52
Control Surface Digital Audio System Inputs and Outputs
Connector 3 pin XLR balanced
AD Converter 24 bit, 96 kHz and 128 times over sampling
Talkback Connector 3 pin XLR balanced line
Talk Connector
3 pin XLR balanced mic with 48 V phantom
Analogue Input Characteristics
53
Specifications
1364 mm (53.70")
Analogue Output Characteristics
Output Type
Source Z
Gain
Max Level
Connector
Surface I/O
50 Ω
0 dB
+21 dBu
XLR
Talk
50 Ω
0 dB
+24 dBu
XLR
Monitor
50 Ω
0 dB
+24 dBu
XLR
Headphones
10 Ω
+10 dB
750 mW
¼ inch jack
Digital I/O Characteristics
Type
Channels
Data Length
I/O
Description Notes
Connector
AES3
2
24 bit
Input
Conforms to AES3 -2003
XLR
AES3
2
24 bit
Output
Conforms to AES3 -2003
XLR
AES50
24
24 bit
Bidirectional
Conforms to AES50 -2006
Ethercon XLR
945 mm (37.20")
Miscellaneous Digital Characteristics
Type
I/O
Description Notes
Connector
Word Clock
IN
Accepts TTL level, 96 kHz square wave; impedance 75 Ohms
BNC
Word Clock
OUT
Provides a TTL level, 96 kHz square wave
BNC
AES Sync
IN
Accepts a digital audio signal conforming to AES3 -2003 at 96 kHz
XLR
AES Sync
OUT
Provides a grade II reference signal conforming to AES3 – 2003 at 96 kHz
XLR
431 mm (16.97")
PRO X is built around a road rugged frame:
Dimensions: Width 1,364 mm x Depth 945 mm x Height 431 mm (53.7" x 37.2" x 17")
Weight: 97 kg (213 lbs)***
*** Weights are approximate and out of road case. Packing may vary by territory.
54
55
R&D Centre of Excellence
The Future Sound of
MIDAS & KLARK TEKNIK
NAMM TEC Nominee 2014
In 2012, MIDAS’ parent company MUSIC Group
expanded the Manchester site again, investing in
a state-of-the-art R&D Centre of Excellence with
24,000 sq. ft. of space and dramatically expanding
the engineering team.
For over 40 years MIDAS and KLARK TEKNIK have
repeatedly shown award-winning innovation and
leadership in the world of high end professional
audio, producing landmark products that have
defined and shaped the live industry.
We dedicate this brochure to you, the employees.
You have made MIDAS and KLARK TEKNIK global
brands that have become the Industry Standard.
Words can’t describe the amount of dedication,
heart and soul that you have contributed.
Today the site represents a state-of-the-art
research and development center with worldleading expertise in hardware and software, laying
the ground for unprecedented innovation and
product design.
Our achievements would not have been possible
without the unwavering support of all our amazing
employees throughout the years.
We also thank our partners, customers, sound
engineers, musicians and the many friends who
have supported us for over 40 years. This has been a
wonderful journey together and we can’t wait to see
where the next 40 years will take us.
Thank You.
Highly-complex 14-layer PCB with DSP and FPGA semiconductors
56
57
MIDAS Care
For service, support or additional information, please refer to midasconsoles.com or contact the MUSIC Group office nearest you.
Europe
MUSIC Group Services UK
Klark Industrial Park, Walter Nash Road
Kidderminster, Worcestershire DY11 7HJ
United Kingdom
Tel: +44 156 273 2290
Email: CARE@music-group.com
USA/Canada
MUSIC Group Services NV Inc.
5270 Procyon Street
Las Vegas, NV 89118
Tel: +1 702 800 8290
Email: CARE@music-group.com
Japan
MUSIC Group Services JP K.K.
ASSORTI Kodenmacho Liens 10F
Nihonbashi Kodenmacho 14-10
Chuo-ku Tokyo Japan 103-0001
Tel: +81 3 6231 0454
Email: CARE@music-group.com
Any names, likeness, or images featured or referred to herein are not affiliated with MUSIC Group. They do not sponsor or endorse MUSIC Group or any of its products.
*Audinate® is a registered trademark of Audinate Pty Ltd. Dante is a trademark of Audinate Pty Ltd. Audinate products are protected by one or more of US Patents 7747725, 8005939, 7978696, 8171152 and other
patents pending or issued, see www.audinate.com/patents. Apple, iPad, iPhone, Macintosh, Mac, and OS X are trademarks of Apple Inc. All third-party trademarks are the property of their respective owners. Their
use neither constitutes a claim of the trademark nor affiliation of the trademark owners with MUSIC Group. Product names are mentioned solely as a reference for compatibility, effects and/or components.
**Warranty details can be found at music-group.com
MUSIC Group accepts no liability for any loss which may be suffered by any person who relies either wholly or in part upon any description, photograph, or statement contained herein. Technical specifications,
appearances and other information are subject to change without notice. All trademarks are the property of their respective owners. MIDAS, KLARK TEKNIK, TURBOSOUND, BEHRINGER, BUGERA, and DDA are
trademarks or registered trademarks of MUSIC Group IP Ltd. © MUSIC Group IP Ltd. 2014 All rights reserved.
MUSIC Group IP Ltd. Trident Chambers, Wickhams Cay, P.O. Box 146, Road Town, Tortola, British Virgin Islands. 985-90000-00338 V1
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