|
|
|
|
| Ultimate
Flexibility |
| The
Heritage 3000 is a unique live
performance mixing console that
brings complete flexibility
to the live console arena. At
home in a theatre, an Outside
Broadcast Truck, on stage or
at front of house, the H3000
offers a unique, easy to use,
three position switching system
that changes the consoles output
functions according to the application.
|
| Interchangeable
Modules |
| As
with all Midas consoles the
H3000 design is an easily serviceable
fully modular design. Stereo
modules can be easily swapped
with mono modules in any input
position within the frame. |
| Improved
XL4 Mic pre Amp |
| The
H3000 features a new mic amplifier
which further improves on the
XL4 design giving a CMR improvement
of +30dB whilst retaining the
XL4's constant HF bandwidth
topology which assures excellent
amplifiers stability, RF rejection
and noise performance at all
gains. |
| Equaliser
|
| The
warm, responsive and friendly
four band fully parametric XL4
Equaliser design. Enough said. |
| Direct
Outputs |
| Every
input module is fitted with
a direct output as standard
with its own level control and
front panel switching which
selects the source from pre
/ post equaliser. |
| 24
Mix Sends |
| The
24 mix sends can be easily configured
dependent on the required application.
Each pair of outputs can either
be 2 audio sub groups or 2 aux
sends or a stereo aux send (level
/ pan). These settings are memorized
on power down. |
| Inserts
|
| Each
channel has a half normalized
fully balanced insert send and
return point which can be switched
in or out from the front panel
and set as either pre or post
equaliser. |
| Spacial
Image System (SIS™) |
|
Each
input module is fitted with
the Midas Spacial Image System
(SIS‰) for use with Left,
Center, and Right loudspeaker
systems. When SIS is active,
the unique image control rotary
fader modifies the action
of the pan control allowing
the input to be fed into all
3 outputs. This can be particularly
useful for distributing the
load of high energy, center
panned sounds across all FOH
loud speaker arrays.
|
| VCA
Groups and Mute Groups |
| Each
channel can be controlled by
any combination of the 10 VCA
master faders and 10 mute masters.
Assignment of these busses can
be under automation control.
A safe switches can disconnect
the channel from all mute groups
and / or VCA control. |
| Link
capability |
| Direct
inputs on all outputs allow
the possibility to link consoles
together or to a sidecar / extender.
|
| Matrix |
| As
standard the 8 matrix outputs
derive their signals from the
24 mix sends, left, right and
mono masters creating a 27 X
8 matrix. |
|
Automation
|
| The
automation system can store
and recall up to 500 scenes.
VCA sub group routing is automated
as well as all input and major
output mutes. Input channels
and VCA sub group levels can
be also controlled via the automation
system. |
| Mechanical
and Electronic Design Modules |
| All
modules are extruded to provide
exceptional modular strength. |
| PCB
Material |
| Military
specification PCB material (FR4). |
| Frame
|
| Zinc
plated steel chassis in 3 box
sections to provide exceptional
strength. The audio is separated
from digital automation control
by the steel chassis along the
length of the console. Any interconnections
between the two are filtered
on both ends of the cable to
ensure audio purity. |
| Faders |
| P&G
faders used throughout. |
| Amp
Design |
| Low
noise summing amplifiers. |
| Buss
design |
| Hum
/ noise canceling busses. |
| Potentiometers
|
| High
cost, hermetically sealed Alps
potentiometers used throughout.
|
| Components
|
| Tight
tolerance resistors and capacitors
used throughout. Stable circuitry
design that banishes oscillation.
|
|
| MIDAS
XL250 |
|
|
| Features
: |
| Multi
Functional Application. |
| The
XL250 is an extremely flexible
and truly "multi-functional"
console. It can be re-configured
in seconds for applications
such as in ear monitoring, wedge
monitoring, combinations of
both, front of house use and
many more. All this is achieved
with no compromise to the control
functions or layout through
use of configurable busses and
the controls that feed them.
If you need a stereo buss, switch
the stereo button between two
groups and they are now working
in stereo with all inputs routed
via level and pan controls.
If you want mono busses switch
the stereo button off and the
two groups are independent and
fed from separate level controls
on the input channels. |
| Compact
and Ergonomic. |
| Great
care has been taken to get the
"feel" of the console
correct. The result is a simple,
fast and responsive control
surface which is compact and
yet gives effortless control
over the 48 inputs and 20 outputs. |
| The
Sound. |
| The
XL250 has the "Midas Sound".
Transparent, open and dynamic.
Switch changes are silent, the
noise floor is way down and
the headroom is high due to
the consistent internal gain
structure. |
| The
Inputs. |
| The
XL250 features a new mic amplifier
which improves on the XL3 design
giving better CMR, noise and
distortion performance whilst
retaining the XL3's constant
HF bandwidth topology which
assures excellent amplifier
stability and RF rejection at
all gains. All inputs, mic,
line, insert etc. are fully
balanced and are both differential
and common mode impedance matched. |
| The
Equaliser. |
| The
responsive control, character
and sonic performance of the
legendary XL3 equaliser are
maintained in full including
parametric mid's and traditional
Midas swept shelving treble
and bass. |
| The
Inserts. |
| Each
channel has a half normalised
fully balanced insert send and
return point which can be switched
in or out and set as either
pre or post equaliser from the
front panel |
| Input
Metering. |
| The
peak reading input meters monitor
pre fader signals and cover
a 40dB range from +15dBu downwards
in ten 3dB steps with a signal
present indicator at -25dBu. |
| Direct
Outputs. |
| Every
input module is fitted with
a direct output as standard
with its own level control and
front panel switch which selects
the source from pre fader or
pre insert and equaliser. This
provides a valuable output feed
to effects, broadcast or recording. |
| Audio
Busses. |
| The
XL250 has 4 fixed busses, 2
aux busses for effects sends
and a stereo master bus. The
aux busses have independent
on/off switching and pre/post
fader switching. The remaining
16 busses are configured on
a bus by bus basis as mono or
stereo. The channel mix controls
that feed these busses automatically
change from level and level
to level and pan with the push
of a switch on the group modules.
As an extreme this gives 18
independent mono busses with
a stereo master bus or 2 mono
aux busses with 9 independent
stereo busses. Dual concentric
type controls have not been
used on any of the bus sends.
This simplifies adjustment and
viewing of relative levels within
the mix. All the configurable
mix sends feature independent
on/off switching and pre/post
fader switching. |
| Mix
Groups with Direct Inputs. |
| The
20 mix groups feature 100mm
faders and can be used directly
for speaker outputs or as audio
sub groups with groups 1 to
18 feeding the stereo master
(groups 19 and 20) via individual
pan controls and on/off switches.
Each mix group also has a direct
input with level control which
can be routed into the mix group
either pre or post insert point.
This can be used to link consoles,
return effects, bring in sub
mixes or taped material etc. |
| Outputs
and Meters. |
| All
outputs including insert sends
can drive large capacitive loads
and feature semi-floating fully
balanced circuits which are
both differential and common
mode impedance matched. All
the mix group outputs are monitored
post fader by 20 led peak reading
meters which cover a 60dB range
in 3dB steps. |
| Automutes. |
| The
XL250 has 8 automute masters
which can be assigned to any
input or group and act on pre
fader and post fader signals.
These are overlapping and allow
easy muting of unwanted instruments
during a performance. Each module
has a safe switch which can
be used to over ride the automute
system. |
| The
Solo System. |
| The
XL250 has an advanced solo system
which operates in two main modes;
auto cancel and input priority
add mode. The auto cancel mode
allows fast access channels
and groups by removing the need
to cancel previous solos. The
add mode allows the building
of solo scenes when many solos
can be placed on to the solo
buses at the same time; inputs
are given priority over groups,
i.e. any active input channel
solo will temporarily override
an active group solo. In auto
cancel mode, stereo and other
multiple channels or groups
can be soloed together providing
they are switched on at the
same time. This saves switching
back and forth between the two
modes. In either mode the solo
switches are only latching in
operation if they are pressed
for under a second, if they
are held for longer than this
they unlatch and the solo will
cancel when the switch is finally
released. The solo system can
operate as PFL mono, AFL stereo
or solo in place which operates
on the stereo master output. |
| The
Communications Module. |
| The
talk system is very simple,
fast and flexible; one button
press selects the source from
a choice of talk mic, pink noise
generator, swept oscillator
or external input; a second
button press routes the signals
to any of the mix outputs. An
external output is also provided
to connect to other systems.
Internal console signals can
be monitored via a powerful
8 watt headphone amplifier or
via speakers under control from
the 100mm local output fader.
|
| |
MIDAS VENICE 320 SPECIFICATIONS
|
|
|
| Features and Specifications |
Venice 320 |
| Inputs (total) |
46 |
| Mono-Inputs (Mic/Line) with Inserts |
24 |
| Stereo-Line/Mono-Mic-Input Channels |
4/4 |
| Stereo-Effect-Returns (Line) |
4 |
| Stereo-Tape-Return (Line) |
|
| Busses |
15 |
| Subgroups |
4 |
| Aux
Pre-Fader (Monitor) |
2 |
| Aux
Post-Fader (Effects) |
2 |
| Aux
switchable Pre/Post-Fader |
2 |
| Master L/R |
2 |
| Mono-PFL |
1 |
| Stereo-AFL |
2 |
| Outputs |
| Subgroups (with Inserts) |
4 impedanced balanced 1/4 inch jacks |
| Aux
Pre-Fader (Monitor) |
2
XLR (balanced) |
| Aux
Post-Fader (Effects) |
2 impedanced balanced 1/4 inch jacks |
| Aux
switchable Pre/Post-Fader
|
2
XLR (balanced) |
| Master (with Inserts) |
2
XLR (balanced) |
| Master B Out 2 XLR (balanced) (switchable Mono/Stereo, pre-post
Fader) |
2
XLR (balanced) |
| Tape
Send (Recording) |
1
Stereo (Phono) |
| Direct Outputs (1/4 inch Jack) |
24 |
| Stereo-Headphones |
2 Stereo-1/4 inch jack |
| Stereo-Speakers |
2 impedanced balanced 1/4 inch jacks |
| Additional Features |
| Connector for desk lamps |
2 x 12V/5W (4-Pin XLR) |
| 19“-rack-mounting- kit, |
yes |
| rotatable connector panel |
yes |
|
Technical Data
|
| Input Impedance |
| Mic
|
2 OhmBalanced |
| Line |
20 Ohm Balanced |
| Input Gain |
| Mic
|
Continuously variable 0dB to +60dB |
| Line |
(Mono Channel) Continuously variable -20dB to +40dB |
| Line |
(Stereo Channel) Continuously variable -10dB to +20dB |
| Line
Level Inputs |
0dB |
| Maximum Input Level |
| Microphone
and Line |
+22dBu |
| Line
Level Inputs (Mono) |
+42dBu |
| Line
Level Inputs (Stereo)
|
+22dBu |
| CMR at 1kHz |
| Mic
(Gain +30dB) |
> 80dB |
| Line |
> 40dB |
| CMR at 100Hz |
| Mic
(Gain +30dB) |
70dB typical |
| Frequency Response (20Hz-20kHz) |
| Mic
to Mix (Gain +60dB) |
+
0dB to -1dB |
| Noise (20Hz-20kHz) |
| Mic
EIN ref. 150gain +60dB
|
-129dBu |
| Mic
EIN ref. 150gain 0dB |
-107dBu |
| System Noise (20Hz-20kHz) |
| Summing
Noise (12 channels routed,
faders down) |
-90dBu |
| Line
to Mix Noise (12 channels
routet at 0dB) |
-84dBu |
| Distortion at 1kHz |
| Mic
to Insert (+30dB Gain.
+20dBu Output) |
Typ 0,0007% |
| Mic
to Master (+30dB Gain,
+20dBu Output) |
< 0,009% |
| Crosstalk at 1kHz |
| Channel
to Channel |
< -80dB |
| Mix
to Mix |
< -80dB |
| Channel
to Mix |
< -80dB |
| Fader
Attenuation |
> 100dB |
| Switch
Rejection |
> 100dB |
| Output Impedance |
| Line
Outputs |
75
Ohm balanced |
| Headphones
|
to
drive 32 Ohm |
| Maximum Output Level |
| Master
Outputs |
+25dBu |
| Line
Outputs |
+22dBu |
| Headphones
|
+22dBu / 600 |
| Nominal Signal Level |
| Microphone
|
-
60dBu to 0dBu |
| Line |
0dBu |
| Equaliser Mono Channel |
| Hi
Pass Filter |
2nd order Butterworth, 80Hz |
| Treble
|
+/-15dB at 12kHz (Shelv) |
| Hi
Mid |
Continuously variable 100Hz to 2kHz (1 Oct) +/-15dB |
| Lo
Mid |
Continuously variable 400Hz to 8kHz (1 Oct) +/-15dB |
| Bass
|
+ /-15dB at 80Hz (Shelv) |
| Equaliser Stereo Channel |
| Treble
|
+/-15dB at 12kHz (Shelv) |
| Hi
Mid |
3kHz (1,4 Oct) +/-15dB |
| Lo
Mid |
300Hz (1,4 Oct) +/-15dB |
| Bass
|
+/-15dB at 80Hz (Shelv) |
| Size (mm/inch) |
| Width
|
906 / 35.7“ |
| Depth
|
568 / 22.4“ |
| Heights
|
194 / 7.6“ |
| Weight (kg/lb) |
25,8 / 56.9 |
|
