Audio Media - September 2008 - (Page 75) AM arwickshire, UK – Midas is taking the next step in the implementation of technologies developed for its flagship XL Live Performance System digital mixer with the introduction of a new console and the reintroduction of a legacy nomenclature. The PRO Live Audio System, the first Midas console to carry a PRO series designation since the analogue console line’s successful run was introduced years ago, uses the same software engine as the XL and offers a generous subset of the XL ’s capabilities in a smaller footprint (the control surface is about the size of a -channel Verona, and the external I/O and processing engine are housed in two R rack units). 09|08 W Design Heritage The PRO mic pre amps utilise all discrete components in a design based on that used in the analogue XL and Heritage series of consoles. The pre implementation has both analogue and digital gain stages. Midas says that when developing the XL , it went into a great deal of investigation into quantifying why its analogue desks have their unique sonic character – that research resulting in digital processing algorithms that are shared by the PRO . Believing also that the operational feel of the controls is critical to the user experience – the interaction between tactile control response and what 33 years ago, Midas’ PRO-designated series was introduced. Now, at PLASA 2008, Midas will launch a wholly new PRO series, but will it be just as successful? FRANK WELLS is allowed an early look at the PRO6. MIDAS PRO6 Live Audio System The standard PRO package affords up to simultaneous input channels and (+ ) discrete mix channels, with EQ and dynamics on each. By adding additional I/O, the networked system’s capabilities can be expanded to inputs and outputs. The PRO also employs the plug-in compliment developed for the XL , and as three new ones. All FX and processing is incorporated into the PRO ’s integral automatic processing delay management system (one of the reasons that Midas limits plug-in implementation to their own proprietary plug-ins) to ensure sample accurate phase coherency between channels, regardless of differing processing latencies. As with the XL , the PRO system is networked using the AES protocol, which carries not only audio and clocking, but also time-stamping information that Midas says is critical to its delay management system. the engineer hears – led Midas to design in ‘real-time’ control operation and the use of sampled potentiometers, rather than digital encoders, for all rotary controls and faders. Reliability features of the PRO include redundant power supplies, modular FPGA based processing with a spare module option (with automatic deployment if needed), AES ’s mature error correction capabilities, redundant network cabling, and dual-redundant Linux-based master control computers. Colour Control The control surface, sporting a somewhat subdued colour scheme in comparison to the XL , does borrow much from its big brother. A -fader input channel section occupies the left third of the mix controller, with available controls and layout familiar and friendly to analogue console operators in what Midas calls ‘Fast Zones’. Four identically laid out control strips reside on the right end of the desk. ‘Dual Operator Channel Strips’ in the XL style – a pair of more densely populated sections of control knobs and buttons for use on a selected channel – are fitted between the Fast Zones and the output and master sections. Ten ‘VCA’ faders sit at the bottom of control surface centre. The PRO follows the ease-of-use model developed for the XL . Colour-coded VCA group keys and six colourcoded ‘POP’ or population group keys sit above the VCA faders. With user assignable channel groupings, legends, and colour-coding, the VCA and POP groups let users bring clusters of channels to the fader banks at the touch of a button and in a layout that makes logical sense for their production and operational style, rather than the user having to page through virtual layers of faders to access a given channel. The remaining portions of the output section consist of knobs and switches to control levels and other parameters of auxes and groups. The final control surface section houses master faders, monitor control, automation (including eight mute groups), talkback/coms/oscillator controls, user assignable knobs and dual track balls (that can also serve as surround panners). Two ‘daylight visible’ screens share the right twothirds of the bridge, giving access to a host of set-up and operational displays. At the time Midas entered the digital console market with the remarkably full-featured XL (at a price point that guaranteed an elite level of adoption, though XL s will be in the market by mid September), the company foreshadowed its intention to base additional consoles on the same core technologies, broadening their ability to penetrate additional segments of the digital console market. Midas Managing Director John Oakley heralded the PRO introduction saying, “This is the one where everybody gets to play.” Midas reports that the standard PRO package was conceived to be competitive in both features and price with their Heritage TP (Touring Package) console. ∫ I N F O R MAT I O N THE REVIEWER FRANK WELLS is the Editor of Audio Media's sister magazine, Pro Sound News in the US. His career includes experiences in military communications and radio broadcast engineering. He spent nearly 10 years as Chief of Technical Services for Masterfonics studios in Nashville, and was the founding editor of Audio Media USA. £ GB£/US$ - TBA A Midas Europe HQ, Walter Nash Road, Kidderminster, Worcs, DY11 7HJ T +44 (0) 1562 741515 F +44 (0) 1562 745371 W www.midasconsoles.com AUDIO MEDIA SEPTEMBER 2008 75 http://www.midasconsoles.com
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