Midas Consoles PRO2c/IP Digital Console Install Package
Standard Midas PRO2C Install Package
64 channel x 27 bus digital audio mixing system. Includes
PRO2 Compact console (Boxed) loaded with 8 mic/line
inputs, 16 analogue outputs 2 AES3 inputs and 3 AES3
outputs. Complete with DL251 48 mic/line input, 16 output
remote stagebox (boxed).
Think of an audio mixing system which offers unprecedented levels of control integration in terms of speed and ease of workflow. Think of an audio mixing system which has the most intuitive, operator-driven user-interface yet imagined, yet costs no more than an ordinary console. Think of an audio mixing system which has all of this, and sounds like a MIDAS. Think of the MIDAS PRO2 - Radical thinking – It's simple!
The MIDAS PRO2 and PRO2C may be the smallest and least expensive MIDAS digital consoles so far; however, they represent a quantum leap forward in both technology and in concept for the art of audio mixing.
PRO2 can be operated in a number of different ways, depending upon the experience, ability and willingness of the operator to adopt new ideas. In "normal" mode, PRO2 behaves in a manner similar to many other digital consoles. Engineers who are new to MIDAS digital can relax, enjoy the PRO2's sample-synchronous audio quality, and operate the console from well within their comfort zone. As an operator becomes increasingly familiar with the console, they can activate the advanced navigation features which enable access to undreamt of levels of ease and speed of workflow on an audio console. Digital or Analogue!
PRO2 is also available in minimum-footprint compact form, PR02C. PRO2C is essentially the same mixer, the only difference being the physical size of the user interface. The PRO2C features all of the facilities of its larger sibling, yet this 64 channel mixer is no larger than many 24 channel analogue consoles.
- 156 inputs x 166 outputs (max capacity) point-to-point routing anywhere within the Network
- 56 mic/line inputs with MIDAS mic preamps
- 64 simultaneous input processing channels
- 32 analogue outputs (including 2 stereo local monitor outputs)
- 3 AES3 outputs
- 2 AES3 inputs
- 27 sample-synchronous, phase-coherent mix buses
- 6 multi-channel FX engines
- Up to 28 KLARK TEKNIK DN370 31-band Graphic EQs
- Full-colour 15" daylight-viewable display screen
- 8 VCA (Variable Control Association) groups
- 6 POPulation groups
- 192 MCA (Mix Control Association) groups
- 96kHz 40-bit floating-point processing throughout
- 100m bi-directional Cat-5e AES50 digital snake included (48 in x 16 out)
- Stage I/O: DL251 48 in / 16 out fixed configuration
Additional I/O Unit Options
- DL431 24 in 5 way split: fixed
- configuration I/O
- DL252 16 in / 48 out fixed configuration I/O
- DL351 Up to 64 in / 64 out configurable I/O
- DL451 Up to 24 in / 24 out configurable I/O
In addition to the 56 primary input channels, PR02 features 8 aux returns, all of which feature 4-band parametric EQ and insert points. These 8 aux returns can be used as returns for the PR02's internal FX processors, or as additional mic channels, if enough mic inputs are available on the network I/O hardware.
A total of 64 input channels have routing to 27 mix buses. These buses comprise 16 user-configurable aux buses, which can be mixes, subgroups or mix minus groups, and the 8 matrix buses. The Matrix buses source from inputs, as well as groups, and so can be used as additional auxes (monitor mix and FX sends). All buses can be linked as stereo pairs (except the MONO bus).
All audio paths can be routed to multiple destinations and the console format can be reconfigured live on a scene-by-scene basis.
The Console is a typical robust MIDAS steel frame, which employs engineering principles similar to those employed on established products such as PRO6 and XL8. The frame is fitted with two removable power supplies, only one of which is required for full operation. The power supplies are auto-voltage sensing, auto-switchover, fitted with locking AC connectors, and are hot-swappable.
The standard DL251 remote stage-box included with each PR02 system has 48 MIDAS mic/line inputs, 16 analogue XLR outputs and features dual power supplies as standard. The DL251 can be located up to 100 metres (330 feet) cable distance from the console. You can choose from a range of optional I/O including the DL431 mic splitter so you can tailor the hardware to your chosen application.
- The fixed-format, integrated audio I/O on the rear of the surface features the following connections:
- 8 x analogue mic/line inputs with MIDAS mic pre's (XLR)
- 8 x analogue outputs (XLR)
- 2 x AES3 inputs and 3 x AES3 outputs (XLR)
- 6 x AES50 ports (RJ45)
- Local monitor A L&R and Local monitor B L&R (XLR)
- Left, Right and Mono master outputs (XLR)
- Talk output (XLR)
- Talk Mic input (XLR)
Additional non-audio rear panel connections are:
- MIDI in, out and through
- AES3 clock in and out (XLRM & XLRF)
- Wordclock in and out (2 x BNC)
- Video (black burst) sync in (BNC)
- DVI video output from console screen (DVI)
- Ethernet control port (Ethercon RJ45)
- USB port (USB A)
Download Midas Consoles PRO2 Brochure
MIDAS Digital Sound Quality
The MIDAS reputation for fantastic audio quality has evolved over 40 years of development and research. By designing the best mic pre’s, equalisation and using the superior components, MIDAS has carried this tradition into the digital realm. Adding the best converters and custom processing algorithm to the mix MIDAS, takes audio quality to another level. In addition MIDAS digital systems are the only live sound systems in the world to have a comprehensive and automatic latency management system. Which, in addition to managing all internal routing and processing latency, also includes compensation for external analogue inserts. This means that all audio samples are synchronised before summing, resulting in absolute phase coherency at all outputs.
MIDAS digital feels, as well as sounds superb. All the variable controls on the console are genuine analogue high precision potentiometers, not mechanical encoders. These access the FPGA-DSP engine through precision instrumentation A-D converters and MIDAS’ 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.
The MIDAS microphone pre-amp is the one by which all others are judged. Still built from discrete components, and still based on the designs which were so successful in the legendary MIDAS analogue consoles such as the XL3, XL4 and Heritage, the current expressions in the XL8 range and PRO Series sound better than ever. Whether you want pristine, transparent reproduction, or that renowned MIDAS warmth and colouration, MIDAS’ dual (analogue and digital) gain stages enable you to shape the mic amps’ character according to your own preference.
A major problem affecting many digital consoles is a lack of attention to delay management. All digital processing takes time to run – typically just a few samples, but never zero. ADCs and DACs have much bigger delays (typically a few milliseconds) so if analogue insert points are used, the channel in question will be delayed significantly relative to the others.
Mix engineers working on analogue consoles routinely combine signals with different signal paths and processing and expect to do the same with digital. On many current digital consoles, combining signals in this way leads to the summing of signals that are in effect partly out of phase. This causes undesirable “comb filtering” effects, where specific frequencies are cancelled out completely. All MIDAS digital consoles have comprehensive automatic time alignment to correct any path related delays. Plus the additional latency introduced by the A to D conversion on the analogue inserts is also automatically compensated.
Unique to MIDAS digital are the I/O and DSP units which can be freely distributed into multiple locations. In particular I/O units can be placed exactly where they are needed – on the stage, around the auditorium, at FOH or remotely in a broadcast truck. MIDAS’ digital audio network is easily configurable to route signals from where and by when they are needed since the patching is done a scene-by-scene basis.
Every transition of a network adds delay. MIDAS networks have only 70 micro-seconds of latency per hop so even a multi-hop routing has negligible aggregate delay (latency) making it perfect for in-ear monitoring. All inputs and all outputs are time-aligned to sample accuracy, no matter where they are in the network or how they are routed. This is another major contributor to the performance of a MIDAS digital console and that magical MIDAS sound.
Navigating the Channels
The concept of "paging" or "layering" is eliminated. Instead the operator is invited to create groups of mix or musically related channels, which are structured around the process of mixing the show. This is preferable to locating target channels from arbitrary "layers" or "pages" which have no logical delineation and often start and end at inconvenient points (i.e. half-way through a logical sequence of inputs).
There are three types of groupings available on PR02: VCA (Variable Control Associations) MCA (Mix Control Associations) and POPulation groups. These groups are identified using colour coding and high-visibility labelling and further supported by the full-colour daylight-visible TFT screen. Selecting a VCA or POP group will bring all of the members of that group to the designated area of the control surface, populating from the VCA area outwards. If the group has more members than visible input channels, the group can be viewed either by scrolling the input faders, or pressing the EXTEND button. This will populate the VCA fader area with the additional input channels.
The PRO2 boasts two input gains per channel. First is the remote analogue gain for that wonderful MIDAS mic amp, the second is a digital gain. Set the analogue gain for the desired amount (if any) of that famous MIDAS "warmth", then use the digital gain to trim to your preferred gain structure.
MIDAS digital EQ features fully interpolated controls, which re-create the original phase-shift as experienced when working on the worlds' best-loved analogue consoles. Each input channel has 4-band parametric EQ, with a choice of four different filter types for both the high and low filters. These powerful EQ options enable the user to employ EQ filters which emulate the sound of historic MIDAS consoles, or, freed of the limitations of analogue circuitry, choose advanced digital filter types.
The dynamics processing on the PRO2's input channels is identical to the MIDAS XL8. Each input channel features a frequency-conscious gate and a choice from four different compressor algorithms. Further creative expression is available, as these compressor options feature variable knee, internal and external side-chain filtering, and colouration artefact options.
Output (bus) compression offers a choice of five different options. These compression algorithms are designed to provide the engineer with a broad pallet of options 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 PR02's FX rack, including multiband compression and dynamic equalisation.
The PRO2'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. 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 on a send-andreturn basis.
Delay FX can be individually configured to synchronise to the PRO2's GLOBAL TAP-TEMPO hardware button. This makes on-the-fly changes to delay effects childs' play.
Even more FX options are under development for future firmware releases.
In addition to normal stereo and SIS operation, the PRO2 can operate in one of three surround sound modes:
- Quad Four-channel L-R front plus L-R rear
- LCRS Four-channel L-C-R plus single rear channel
- 5.1 Six-channel L-C-R plus Sub plus L-R rear
All three surround modes feature divergence control to tailor the depth of the surround panning. Dynamic surround panning can be implemented using the PRO2's trackball, or the USB pointing device of your choice.
Remote control of the PRO2 can be achieved using an iPad and wireless access point. Install the PRO2 remote app on the iPad and connect the WAP to the PRO2's Ethernet control port, having configured the wireless link.