Midas MR18, MR12 User manual

MR18

18-Input Digital Mixer for iPad/Android Tablets with 16 MIDAS PRO Preamps, Integrated Wi Module and Multi-Channel USB Audio Interface

MR12

12-Input Digital Mixer for iPad/Android Tablets with 4 MIDAS PRO Preamps, 8 Line Inputs, Integrated Wi Module and USB Stereo Recorder

Product Manual

2 M AIR User Manual

Table of Contents

Important Safety Instructions ...................................... 3

Legal Disclaimer ............................................................. 3

Limited warranty ............................................................ 3

1. Introduction ............................................................... 4

2. Callouts ....................................................................... 5

2.1 MR18 Callouts ....................................................................... 5

2.2 MR12 Callouts ...................................................................... 6

3. Hookup ....................................................................... 7

3.1 MR18 Hookups ..................................................................... 7

3.2 MR12 Hookups ................................................................... 10

4. Network Connection ............................................... 12

4.1 IP Address and DHCP ....................................................... 12

4.2 Ethernet/LAN ..................................................................... 12

4.3 Wi Client ............................................................................ 12

4.4 Access Point ........................................................................ 13

4.5 Getting Started.................................................................. 13

5. M AIR for iPad ........................................................... 14

5.1 Main Screen ........................................................................ 14

6.5 EQ ........................................................................................... 20

6.6 Dynamics ............................................................................. 21

6.7 Sends ..................................................................................... 21

6.8 Main ....................................................................................... 21

6.9 Meters and RTA..................................................................22

6.10 Eect Rack ......................................................................... 22

6.11 Snapshots .......................................................................... 22

6.12 Scenes and Shows .......................................................... 22

6.13 Routing ............................................................................... 22

6.14 Setup ................................................................................... 23

7. M AIR Edit for PC ...................................................... 24

7.1 Main View and Mixer Tab ............................................... 24

7.2 Channel Tab ........................................................................24

7.3 Input Tab .............................................................................. 25

7.4 Gate Tab ................................................................................ 25

7.5 EQ Tab ................................................................................... 26

7.6 Comp Tab ............................................................................. 26

7.7 Sends Tab ............................................................................. 26

5.2 Input ...................................................................................... 14

5.3 Sends ..................................................................................... 14

5.4 Gate ....................................................................................... 14

5.5 Dynamics ............................................................................. 15

5.6 Channel EQ ......................................................................... 16

5.7 Insert ..................................................................................... 16

5.8 Presets .................................................................................. 16

5.9 Output .................................................................................. 16

5.10 Mete rs ................................................................................. 17

5.11 S ho w s .................................................................................. 17

5.12 Snapshots .......................................................................... 17

5.13 Eects.................................................................................. 17

5.14 Routing ............................................................................... 17

5.15 Setup ................................................................................... 18

5.16 Main EQ .............................................................................. 18

6. M AIR for Android .................................................... 18

6.1 Main View ............................................................................ 18

6.2 Input ...................................................................................... 19

7.8 Main Tab ...............................................................................27

7.9 FX Tab .................................................................................... 27

7.10 Meter Tab ........................................................................... 27

7.11 Setup Menu ....................................................................... 27

7.12 Snapshot Page..................................................................28

7.13 Utilities ................................................................................ 29

7.14 Auto Mix ............................................................................. 30

8. MIDI ........................................................................... 31

9. Specications ...........................................................32

9.1 MR18 ...................................................................................... 32

9. 2 MR12 ...................................................................................... 33

10. Eect Descriptions ................................................35

11. Instructional Videos .............................................. 42

12. Block Diagrams ......................................................43

12.1 MR18 Block Diagram ...................................................... 43

12.2 MR12 Block Diagram .....................................................44

FEDERAL COMMUNICATIONS COMMISSION

COMPLIANCE INFORMATION ......................................45

6.3 Cong ................................................................................... 19

6.4 Gate ....................................................................................... 20

3 M AIR User Manual

9. Do not defeat the safety purpose of the polarized

20. Please keep the environmental aspects of battery

Important Safety Instructions

Terminals marked with this symbol carry electrical current of su cient magnitude

to constitute risk of electric shock. Use only high-quality professional speaker cables with ¼" TS or twist-locking plugs pre-installed. Allother installation or modi cation should be performed only by quali edpersonnel.

This symbol, wherever it appears,

alertsyou to the presence of uninsulated

dangerous voltage inside the enclosure-voltage that may be su cient to constitute a risk ofshock.

This symbol, wherever it appears,

alertsyou to important operating and

maintenance instructions in the accompanying literature. Please read the manual.

Caution

To reduce the risk of electric shock, donot

remove the top cover (or the rear section). No user serviceable parts inside. Refer servicing to quali ed personnel.

Caution

To reduce the risk of  re or electric shock,

do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects  lled with liquids, suchas vases, shall be placed on the apparatus.

Caution

These service instructions are for use

by quali ed service personnel only. Toreduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by quali ed servicepersonnel.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in

accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including ampli ers) that produce heat.

or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. Ifthe provided plug does not  t into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Use only attachments/accessories speci ed by themanufacturer.

12. Use only with the cart, stand, tripod, bracket, or table speci ed by the manufacturer, orsold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid

injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to quali ed service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has beendropped.

15. The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.

17. Correct disposal of this product: This symbol indicates that this product must not be disposed of with household waste, according to the WEEE Directive (2012/19/EU) and

your national law. This product should be taken to a collection center licensed for the recycling of waste electrical and electronic equipment (EEE). The mishandling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the e cient use of natural resources. For more information about where you can take your waste equipment for recycling, please contact your local city o ce, or your household waste collection service.

18. Do not install in a con ned space, such as a book case or similar unit.

19. Do not place naked  ame sources, such as lighted candles, on the apparatus.

disposal in mind. Batteries must be disposed-of at a battery collection point.

21. Use this apparatus in tropical and/or moderate climates.

LEGAL DISCLAIMER

MUSIC Group accepts no liability for any loss which may be su ered by any person who relies either wholly or in part upon any description, photograph, or statement contained herein. Technical speci cations, appearances and other information are subject to change without notice. All trademarks are the property of their respective owners. MIDAS, KLARK TEKNIK, LAB GRUPPEN, LAKE, TANNOY, TURBOSOUND, TC ELECTRONIC, TC HELICON, BEHRINGER, BUGERA and DDA are trademarks or registered trademarks of MUSIC Group IP Ltd. © MUSIC Group IP Ltd. 2016 All rights reserved.

LIMITED WARRANTY

For the applicable warranty terms and conditions and additional information regarding MUSIC Group’s Limited Warranty, please see complete details online at music-group.com/warranty.

4 M AIR User Manual

1. Introduction

Congratulations on your purchase of the new MIDAS M AIR series digital mixer. These mixers oer plenty of analog I/O for most per formances in a very compact form factor that is easy to transport, but doesn’t sacrice any mixing power. With high-end features taken from the M32 mixer, such as MIDAS PRO preamps, high-quality eects, P-16 monitoring on the MR18, and USB recording capability, these consoles far outperform their size.

Mixing live shows can now be done from anywhere in the venue thanks to the wireless control options that allow all software functions to be controlled from an iPad*, Android* tablet or PC. While a dedicated ex ternal router can be used, it is not necessary thanks to the integrated Wi module. This allows monitors to be adjusted while standing on stage, and the main mix to be per fected from anywhere in the crowd.

In addition to dedicated aux buses for monitoring, the M AIR has 4 studio-quality stereo eects processors. In fact, these are the same great eects found in the acclaimed M32 mixer, including legendary reverb, echo and chorus algorithms.

Not just a live sound tool, the MR18 features an 18x18 USB audio/MIDI interface, and the MR12 allows 2-track stereo recording. This makes for a great mobile recording device, home studio interface, and enables live per formances to be multitracked for later mixing.

Continue through this manual to learn all about the functionality of your mixer, as well as the M AIR software.

*iPad is a trade mark of Apple Inc. Andr oid is a trademark of G oogle Inc. iPad and And roid tablet are not inc luded.

5 M AIR User Manual

2. Callouts

2.1 MR18 Callouts

(7) (9) (8) (6) (11)

(10)

(1)

(12) (2)

(1) INPUTS accept balanced and unbalanced XLRand ¼" plugs.

(2) MAIN L & R jacks send the main mix signal to PA or monitor speakers via

XLR cables.

(3) HEADPHONE jack accepts a ¼"TRS plug for connecting a pair

ofheadphones.

(4) PHONES LEVEL knob determines the output of the headphones jack.

(5) POWER switch turns the power on and o. The LED on the main input

panel will light when the unit is powered on.

(6) USB port (type B) accepts a USB cable for connection to a computer for

multi-channel audio and MIDI recording. Up to 18 audio channels can be simultaneously recorded, and 18 channels are available for playback. The mixer application allows assignment of channels for recording and playback. 16channels of MIDI I/O can also be transmit ted on the same USB connection. Check the product page on midasconsoles.com todownload the required (Windows*) driver and the full manual for a comprehensive explanation of the interface.

(5)

(13)

(4)

(3)

(7) ETHERNET port allows the mixer to be controlled via LAN or connected

Wi router.

(8) RESET button resets the console to default network parameters when held

for 2 seconds. When held for 10 seconds, allconsole functions are reset to factory default status.

(9) REMOTE switch selects between Ethernet, Wi client, or Access Point. See

the Network Connection chapter for details.

(10) MIDI IN/OUT jacks send and receive MIDI signals to and from external

equipment. Seethe MIDI Implementation chart fordetails.

(11) ULTRANET port allows connection of BEHRINGER P16-M personal

monitoring mixers or P16-D distribution hubs.

(12) AUX SEND jacks send your monitor mixes to active stage monitors or

headphone mixers via XLR connectors.

(13) Inputs 17 and 18 acceptbalanced ¼" cables for connecting line-level

sources. These inputs have limited processing compared to the other input channels.

*Windows i s either a register ed trademark or tr ademark of Micros oft Corporat ion in the United State s and/or other countries.

6 M AIR User Manual

2.2 MR12 Callouts

(2) (3) (4) (5)(1)

(6)

(7) (8)

(1) ETHERNET port allows the mixer to be controlled via LAN or connected

Wi router.

(2) REMOTE switch selects between Ethernet, Wi client, or Access Point.

See the Network Connection chapter for details.

(3) RESET button resets the console to default network parameters when held

for 2 seconds. When held for 10 seconds, all console functions are reset to factory default status.

(4) MIDI IN/OUT jacks send and receive MIDI signals to and from external

equipment. See the MIDI Implementation chart for details.

(5) USB port (type A) accepts a ash drive for stereo recordings and playback.

The red LED next to it indicates le access. Do not remove the USB ash drive while it is lit!

(6) XLR COMBO jacks accept balanced and unbalanced XLR and ¼" plugs.

(9)

(11)

(10)

(12)

(7) ¼" inputs accept balanced or unbalanced ¼" plugs. Channel 11 and 12

accept high impedance sources for direct connection of guitars and basses.

(8) AUX SEND jacks send your monitor mixes to stage monitors or

headphone mixers.

(9) MAIN L/R jacks send the main mix signal to PA or monitor speakers via

XLR cables.

(10) HEADPHONE jack accepts a ¼" TRS plug for connecting a pair of

headphones.

(11) PHONES LEVEL knob determines the output of the headphones jack.

(12) POWER switch turns the mixer on and o. The front panel LED will light

when the unit is powered on.

7 M AIR User Manual

3. Hookup

3.1 MR18 Hookups

3.1.1 MR18 recording with iPad

Wireless router (optional)

P16-D

iPad* with camera

connection kit for multi-track

recording

up to 18 tracks

P16-M

DN100

Active Monitors

BALANCED LINKED INPUTS

Keyboard

TRS

Headphones

Active loudspeakers

8 M AIR User Manual

TRS

3.1.2 MR18 live performance

P16-D

iPad* for wireless control

P16-M

Active Monitors

BALANCED LINKED INPUTS

DN100

Keyboard

Headphones

Active loudspeakers

9 M AIR User Manual

ACCESS POINT mode (Mobile Devices with WiFi)

WIFI CLIENT mode (Mobile Devices with Wifi)

3.1.3 MR18 System Overview

Router

Win/Mac*/Linux*

ETHERNET mode

Computer with Ethernet port

CAT-5 cable

Win/Mac/Linux

Mobile Devices with WiFi

iOS/Android

Router

or any other MIDI / Mackie Control compatible Controller

X-TOUCH

iOS/Android*

CAT-5 cable

iOS/Android Android

WIRELESS CONTROL

WIFI CLIENT*

ACCESS POINT*

ACCESS POINT

WIFI CLIENT

ETHERNET

WIRED CONTROL

ETHERNET

MIDI I/O

*WIFI CLIENT mode:

- available channels: 1-11

*ACCESS POINT mode:

- available channels: 1-11

- max. 4 Wifi clients

- performance limited by Wifi bandwidth

Win/Mac/Linux

AUDIO INPUTS USB AUDIO

MIC/LINE IN

CH. 1-16

LINE IN

CH. 17-18

DSP-MIXER CH.

MONO IN 1-16 USB/AUX IN (STEREO) FX RETURN 1-4 (STEREO)

4 STEREO FX SLOTS RTA METER

ADCs

DSP

DSP ENGINE

AUDIO I/OMIXER CONTROL

AUDIO IN/OUT

CH. 1-18

DSP-MIXER BUSES

AUX / GROUP SEND 1-6

P16-M

P16-D

AUDIO OUTPUTS

DACs

PHONES STEREO

LEVEL

MAIN OUT L-R

AUX SEND 1-6

ULTRANET OUT CH. 1-16

MR18

10 M AIR User Manual

3.2 MR12 Hookups

3. 2.1 MR12 club performance

Wireless router (optional)

iPad* for remote control

Active loudspeakers

USB Flash Drive

Insert sends from mixer

Sub mixer (optional)

Headphones

Active monitors

11 M AIR User Manual

WIFI CLIENT mode (Mobile Devices with Wi)

ACCESS POINT mode (Mobile Devices with Wi)

3.2.2 MR12 System Overview

Router

Win/Mac*/Linux*

ETHERNET mode

Computer with Ethernet port

CAT-5 cable

Win/Mac/Linux

Mobile Devices with WiFi

iOS/Android

Router

or any other MIDI / Mackie Control compatible Controller

X-TOUCH

iOS/Android*

CAT-5 cable

iOS/Android Android

WIRELESS CONTROL

WIFI CLIENT*

ACCESS POINT*

ACCESS POINT

WIFI CLIENT

ETHERNET

WIRED CONTROL

Win/Mac/Linux

AUDIO INPUTS

MIC/LINE IN

LINE IN

Hi-Z

ETHERNET

DSP-MIXER CH.

MONO IN 1-16

MONO IN 1-16*

USB/AUX IN (STEREO)

MIDI I/O

*WIFI CLIENT mode:

- available channels: 1-11 *ACCESS POINT mode:

- available channels: 1-11

- max. 4 Wi clients

- bandwidth limited by Wi adapter

USB/AUX IN (STEREO)

FX RETURN 1-4 (STEREO)

4 STEREO FX SLOTS

*Ch. 13-16 fed by any IN 1-12 (Signal Split, e.g. for monitoring with dierent EQ)

ADCs

DSP

DSP ENGINE

AUDIO I/OMIXER CONTROL

USB RECORDER

STEREO REC

(VARIOUS SOURCES)

STEREO PLAY

(SPECIFIC “USB”

STEREO

INPUT CHANNEL)

DSP-MIXER BUSES

PRE-DEFINED AS SUBGROUPS*

XR12: BUSES 3/4/5/6

MR12: BUSES 3/4/5/6

XR16: BUSES 5/6

RTA METER

*PRE-DEFINED BUSES Also used for monitoring

AUDIO OUTPUTS

PHONES STEREO

DACs

LEVEL

MAIN OUT L-R

DACs

AUX SEND 1-2

MR12

12 M AIR User Manual

4. Network Connection

The M AIR mixers oer convenient digital control of the various mixing functions in three dierent ways - via Ethernet LAN, or wirelessly as a Wi Client or as an Access Point. Selection is made with the REMOTE switch. You may view or change the network preferences for these on any of the M AIR remote control applications on the ’Setup/Network’ page.

4.1 IP Address and DHCP

Depending on the connection scenario, the M AIR mixers oer up to 3 options for connecting a tablet or PC for software control – DHCP Client, DHCP Server, andxed IP operation. Connection is achieved dierently depending on whichoption you choose:

DHCP Client mode is available in Ethernet LAN or Wi Client operation. Themixerwill automatically request an IP lease from the DHCP server that ownsthe IPaddresses in the network to which you are tr ying to connect.

DHCP Server (DHCPS) is optionally available for Ethernet LAN connec tions and is standard in Access Point operation. The mixer will own the IP addresses and provide IP leases to devices requesting access to that network. The mixer will always use IP address 192.168.1.1 and assign IP addresses 192.168.1.101 –

192.16 8.1.132 to it s c lie nt s.

Static IP is available for Ethernet LAN and Wi Client operation. The mixer will use the xed (static) IP address, subnet mask and gateway that you specify for registering on the network. Make sure that the addresses you specify manually are not conicting with any other addresses on the same network. We generally recommend using the DHCP mode, unless you have a very specic reason to set itup manually.

Note: Changing parameters of the currently selected connection mode will disconnect the software from the console. If the console is erroneously congured for a xed IP address that is incompatible with the network it is connected to, the console will be inaccessible. In this case, one of the other two connection modes can be used to regain access and amend the settings. If that does not work, hold the Reset button for 2 seconds to return to default networksettings.

Wi Client setup screen

4.3 Wi Client

This mode supports DHCP Client (default) and xed IP operation. The M AIR mixers can suppor t WEP, WPA and WPA2 security mechanisms in Wi Client mode and works on Wi channels 1-11.

Correct SSID (network name) and password need to be supplied to connect to an existing network. WEP passwords have to be either 5 characters or 13 characters long. If the supplied SSID and password are incorrect, the mixer cannot be accessed. In this case the networking parameters have to be reset and another connection mode has to be used to regain access.

The Ethernet connection mode may be used for conguration of the WiClientmode. While being connec ted in Ethernet mode, the M AIR mixer can scan the available wireless networks and display their SSID network names, eldstrength and security method. By selecting the preferred wireless network, this information can be copied to the applications’ Wi Client setup page automatically. You will then be prompted to ll in the security password of that network. After switching from Ethernet to Wi Client mode, the mixer should connect to the selected wireless network automatically, and will be displayed by remote applications on any device connected to the same network.

Mixer name and Ethernet setup screen

4.2 Ethernet/LAN

This mode supports DHCP Client (default), DHCP Server, and xed IP operation. Note that if the mixer is connected to a network where no DHCP server is present, the mixer will generate an automatic IP address (range 169.254.1.0–

169.254.254.255). There are no security options for LAN connections, soanydevice in that network may take control of connected M AIR consoles. Whenconnecting via LAN/Ethernet to a Wi router, make sure the security settings of that router prevent unauthorized access.

Access Point s etup screen

13 M AIR User Manual

4.4 Access Point

This mode only supports DHCP Server operation with a maximum of 4clients, working on Wi channels 1-11. Security is supported via WEP 40-bit (5ASCIIcharacters) or WEP 104-bit (13 ASCII characters). By default, the mixer will use a network name consisting of the model name plus the last bits of the mixer’s unique MAC address (e.g.MR18-17-BE-C0). The default IP address is

192.168.1.1 and no security is engaged.

The control software is available for Android and iPad tablets as well as Mac/ PC/Linux computers. Visit music-group.com to download the Mac/PC/Linux software. The tablet software can be downloaded from the application store on your device.

4.5 Getting Started

First Wi remote connection to your M AIR mixer

1. Download and install the remote control app for your device.

• Android smartphones/tablets: M AIR Android from the

Google Play* store

• iPad: M AIR for iPad from the App Store*

• PC: M AIR EDIT for Windows, Mac or Linux from midasconsoles.com

2. Set the REMOTE switch on your M AIR mixer to ACCESS POINT mode and power on the mixer.

3. Reset your M AIR mixer’s network settings to default values by holding the RESET button for 2 seconds. This is located in the small hole above the Wiicon and requires a paper clip or similar tool to reach.

4. Switch your remote control device on and open the network settings.

iPad:

1. Start the Settings/Wi dialog on your iOS.

2. Switch ’Wi’ on.

3. Select your M AIR mixer’s name from the list of networks, e.g. “MR18-19-1B-07”. After a couple of seconds, the status should change to ’Connected’, indicated by a check mark.

4. Open your M AIR for iPad app and it will show any M AIR mixers (’Devices’) found in that network, with their IP address, which in this case is 192.168.1.1.

5. Tap on the mixer’s icon to connect the app with your mixer. Note - if a warning pops up telling you that the mixer rmware is not supported, it is recommended to update the rmware to the latest version (see the product page on midasconsoles.com for details). You can, however, choose to connect anyway.

6. Once the app is connected to your mixer, all parameters will be loadedautomatically. Enjoy exploring all mixing functions of your M AIR mixer remotely!

PC: M AIR EDIT for Windows, Mac or Linux

1. Open the Wireless Network Connections dialog on your operating system.

2. Make sure the ’WLAN’ or ’Wi ’ adapter is switched on.

3. View the list of wireless networks and select your M AIR mixer’s name, e.g.“MR18-19-1B-07”. After a couple of seconds, the status should change to’Connected’, indicated by a check mark.

4. Open your M AIR Editor for Mac/Win/Linux and click on ’Setup’. Thelistwillshow any M AIR mixers found in that network, with their nameand IPaddress, which in this case is 192.168.1.1.

Android smartphones/tablets:

1. Start the Settings/Wireless & Networks dialog on your Android system.

2. Switch ’Wi ’ on.

3. Click on ’Wi ’ to select a network. From the list of networks, select your M AIR mixer’s name, e.g. “MR18-19-1B-07”. After a few seconds, the status should change to ’Connected’.

4. Open your M AIR for Android app and it will show similar information:

• Mix Access = All

• IP Ad dres s = 192 .168 .1.1

• Wi Lock = None

• Wi connected to MR18-19-1B-07

5. You may choose to lock the connection to this specic Wi network if you want to ensure that your device cannot automatically connect to another network while you are controlling your mixer.

6. Click on ’Connect’ and tap on the mixer’s name in order to connect the app with your mixer. Note - if a warning pops up telling you that the mixer rmware is not supported, it is recommended to update the rmware to the latest version (see the product page on midasconsoles.com for details). Youcan,however, choose to connect anyway.

7. Once the app is connec ted to your mixer, all parameters will be loaded automatically. Enjoy exploring all mixing functions of your MAIRmixerremotely!

5. Click on your mixer’s name, e.g. “MR18-19-1B-07”, and conrm to synchronize from mixer to PC in order to connect the app with your mixer. If a warning pops up telling you that the mixer rmware is not supported, it is recommended to update the rmware to the latest version (see the product page on midasconsoles.com for details). You can, however, choose to connect anyway.

6. Once the app is connected to your mixer, all parameters will be transferred automatically. Enjoy exploring all mixing functions of your MAIRmixerremotely!

*App Store is a serv ice mark of Apple Inc. Go ogle Play is a trademar k of Google Inc.

14 M AIR User Manual

(4) (5)

5. M AIR for iPad

The M AIR applications for iOS, Android and Mac/Win/Linux allow all of the physical controls and features normally found on analog mixers to be adjusted digitally, and also allow eects and routing to be fully adjusted, all from a remote location away from the input box. This results in a very compact, yet full-featured mixing solution that can be operated while moving about the venue or studio. This chapter will discuss the software's functionality on an iPad.

5.1 Main Screen

The main screen provides access to all 16 channel faders, Aux in, and FX send levels, as well as navigation to preamp controls, meters, FX slots and more. Thechannel strips can be swiped side to side to reveal all 21 faders, and the selected bus fader is always visible.

(6)

(7)

(1)

(2)

(3)

(4)

(8)

(9)

(10)

(11)

5.2 Input

The Input section allows adjustment of the most common preamp parameters such as gain and phantom power. This is accessed by pressing the top of the Channel Strip of the channel you wish to modify. If another menu such as Sends or Gate come up instead, the menus can be swiped side-to-side without returning to the Main Screen.

(3)

(8) (7)

(1)

(2)

1. The Link button allows adjacent channels to be linked as a stereo pair. Moving one of the linked channels‘ fader will also adjust the other channel.

2. The Phase button inverts the phase.

3. Use the Mic/USB switch to determine whether the channel is fed by the microphone input or by a signal from a DAW via the multi-channel USBconnection.

4. The Mic Gain knob adjusts the input gain for the currently selected channel’s mic preamp.

5. The USB Trim knob adjusts the digital trim for the signal coming from the connected computer. The Mic/USB switch must be set to USB.

(6)

(5)

1. The Channel Strip control section gives a quick reference to the status of phantom power, aux send levels, pan, etc., but no adjustments are made directly on this screen. Touch anywhere inside a channel’s top strip section to edit parameters.

2. Touch a channel’s Solo button to send the channel to the solo bus. Thebutton will light yellow to indicate that a channel has been soloed.

3. Each channel has a dedicated meter to monitor the input level. If the meter reaches the red clip lights, lower the gain control on the Input screen (5.2).

4. The Channel Fader adjusts a channel’s level, or adjusts the aux/FX send level, depending on which layer is selec ted on the right-hand side (see callout 11).

5. Touch a channel’s Mute button to mute the channel. The button will light red when muted.

6. The Meters, Shows, Snapshots, Eects, Routing and Setup buttons allow direct access to these menus.

7. Engage the auto mix groups with these buttons. See section 5.9 for details.

8. Engage one of the 4 Mute Groups with these buttons. Assignments can be made by navigating to a channel’s Output tab.

9. The Layers menu lets you select which channels/buses are visible on the main screen. Custom layers can also be created and edited, for example, to access only the drum channels.

10. The Solo Clear button releases all soloed channels.

6. The HPF Freq knob adjusts the frequency of the lter, allowing unwanted low frequencies to be removed.

7. Engage the HPF (high-pass lter) with this switch.

8. Press this button to engage the phantom power. It is best practice to engage phantom power before running audio in a channel, allowing all voltages to stabilize and prevent any noise during the performance.

5.3 Sends

The Sends tab allows the currently selected channel’s signal to be routed to the 6 Aux outputs and to the 4 Eects processors. Aux and Eects routing can also adjusted using the fader banks on the right-hand side of the screen.

5.4 Gate

The Gate tab allows a noise gate to be engaged and adjusted to remove unwanted noise. To accommodate various levels of mixing expertise, a standard or advanced screen can be selected. The standard view oers 4 presets and a threshold adjustment, while the advanced view allows ne adjustment of the gate parameters.

11. The Fader Bank buttons alter the function of the channel faders. Whenset to Main, the faders adjust the channel volume levels sent to the main bus, andthe overall main output. When one of the Aux or Eect but tons are selected, the faders adjust each channel’s send level to that bus for monitoring or eec ts routing. The level for the Aux or Eect bus that is currently selec ted can be adjusted where the main fader normally appears.

15 M AIR User Manual

(2)

(1)

(3)

1. Engage the gate with the on/o button.

2. Adjust the Threshold that the audio must reach in order to bypass the gate. Any audio that does not register beyond the threshold setting will be mutedautomatically.

3. Press this button to open the preset list where your settings can be saved can recalled.

(4)

(8)

(5) (6) (7)

(10)

(2)

(1)

(3)

(9)

9. Select a high-pass, low-pass or mid peak frequency and slope for the key lter. The specic frequency can be selected by dragging the line across the frequency chart.

10. Press the Advanced button to select between normal and advanced gateoperation.

11. Access the Key Filter parameters by pressing this button.

12. Select a source for the key lter.

5.5 Dynamics

(2)

(1)

(3)

1. Engage the compressor with the on/o button.

2. Adjust the Threshold at which the compressor begins to take eect. Audiothat falls below this setting will remain unaected.

(11)

1. Engage the gate with the on/o button.

2. Gate Type buttons allow various types of gates to be selected. The EXP2, 3and 4 settings reduce the output by varying amounts, allowing a naturalsounding reduction of signals that don’t reach the selec ted threshold. TheGate setting enables a more aggressive drop in volume for signals below the threshold. An additional Range parameter adjusts the amount of attenuation. The Ducker setting attenuates the signal by a predetermined amount whenever the signal rises beyond the selected threshold. The Range parameter adjusts the amount of attenuation for this setting as well.

3. Adjust the Threshold that the audio must reach in order to bypass the gate or engage the Ducker.

4. The Range parameter adjusts the amount of signal attenuation for the Gateand Ducker settings.

5. Adjust the Attack knob to set how quickly the gate takes eect when the input signal drops below the threshold.

6. Adjust the Hold knob to set how long the input signal must surpass the threshold before bypassing the gate.

7. Adjust the Release knob to set how quickly the gate releases after the audio rises above the threshold.

8. Engage the Key Filter with the on/o button.

(12)

3. Press this button to open the preset list where your settings can be saved can recalled.

(2)

(4)

(5) (7)(6)

(1)

(15)

(16)

1. Engage the dynamics processor with the on/o button.

2. Adjust the Threshold at which the compressor begins to take eect. Audiothat falls below this setting will remain unaected.

3. Adjust the Knee to allow the compressor to have a more gradual eect on the signal. When the Knee is set fully to the left (hard knee), any signals that rise above the threshold will receive the full compression ratio right away.

4. Select between a compressor or expander to set the action of the dynamicsprocessor.

5. Adjust the Ratio to determine how aggressively the dynamics are aected.

6. The Wet/Dry ratio determines how much of the signal is left unaected by the processor.

(8)

(10)

(11)(3)

(9)

(14)

(12) (13)

16 M AIR User Manual

7. Use the Gain fader to compensate for changes in level caused by theprocessor.

8. Engage the Key Filter with the on/o button.

9. Select between an aggressive Linear or smooth Logarithmic operation, andbetween Peak or RMS input response. RMS is most common in compressors, and responds to the average level of incoming audio, whereasthe Peak setting responds to brief spikes in loudness that would beallowed through when set to RMS.

10. Access the Key Filter parameters by pressing this button.

11. Adjust the Attack knob to set how quickly the compressor takes eect when the input signal rises above the threshold.

12. Adjust the Hold knob to set how long the compressor takes to enter the release cycle once the audio drops below the threshold.

13. Adjust the Release knob to set how quickly the compressor releases after the audio drops below the threshold.

14. Press the Auto button to allow the compressor to automatically set several advanced parameters based on the input signal.

15. Select a high-pass, low-pass or mid peak frequency and slope for the key lter. The specic frequency can be selected by dragging the line across the frequency chart.

16. Select a source for the key lter.

5.7 Insert

Press the folder icon to engage the insert eect. Scroll through the list of eects blocks to select the desired routing.

5.8 Presets

The Presets tab allows channel presets to be recalled, edited and saved. Pressthepage icon on the right to save a new preset. Press the pencil icon to edit or delete a preset, and press on one of the saved presets to save changes orloadthatpreset. Note that the Snapshots function also works for saving and recalling specic elements.

5.6 Channel EQ

(1) (8) (2)

(3) (6)

(5)

1. Select the type of EQ for each of the 4 bands. Typically cut or shelf EQs are used for the highs and lows, whereas PEQ (parametric) and VEQ (vintage) areused for the mid range adjustments.

2. Use the Gain knob to adjust the desired boost or cut to the selectedfrequency.

3. Adjust the Width (Q) to determine how wide or narrow the frequency adjustment will be.

4. Use the Freq(uency) knob to select the center frequency for PEQ and VEQ types, and the starting frequency for cut or shelf EQs.

5. Engage the EQ with the on/o button.

6. Press this button to open the preset list where your settings can be saved can recalled.

5.9 Output

(1)

(2) (3) (4)

1. Adjust the panorama in the stereo eld.

2. The channel can be unassigned from the main LR outputs, which is useful to ensure that click tracks or talkback mics are not heard by the audience.

3. Assign the current channel to one of the DCA or Mute groups. When assigned to a DCA, the associated group number will appear just above the channel fader. When assigned to a Mute Group, the corresponding red box beneath the channel's fader will light up.

4. The Auto Mix function is very useful for meetings or panel discussions where multiple microphones are used for speech. The mic channels can be assigned to one of two auto mix groups, which will automatically attenuate the channels that are not currently receiving signal. Select the X or Y auto mix buttons in the Output tab to assign several channels to an auto mix group.

7. Press one of the band buttons to select the band. Drag the button left/right to set the frequenc y, and up/down to set the boost or cut. The desired band must be selected before adjusting the width parameter.

8. Engage the RTA (real time analyzer) with this button. The RTA is pre-EQ by default, but can be adjusted on the Setup - Audio/MIDI page.

9. Press this button to reset the currently-selected band.

17 M AIR User Manual

Whenever an auto mix bus is engaged, a blue gain reduction meter will indicate the amount of signal reduction for any channels assigned to the bus. This allows the current speaker to be heard clearly while suppressing any noise from the other microphones. In each channel's Output tab, a Weight control is included which allows certain channels to be attenuated more or less to compensate for louder voices or more sensitive microphones.

5.10 Meters

The Meters page is accessed via the icon at the top of the main screen. This page allows easy monitoring of all analog and digital levels, including USB channels, Gate and Dynamics activity, P-16 channels and the Main and Solo buses.

5.11 Shows

The Shows page allows performances to be saved on the iPad for various venues, artists,setsand arrangements for later recall. Within those shows, individualsnapshots can be saved, edited and recalled. Press the page icon tosave a new show or snapshot. Press the pencil icon to edit or delete a saved showor snapshot. Pressing on a show or snapshot will allow any changes to besaved, orfor a new snapshot to be loaded.

Global Settings allow the input/output routing to be recalled, as well as saving DCA assignments and FX block settings. The Global Cong selection saves parameters such as link preferences, channel and bus links, solo preferences, Auto Mix enable and last gate open, and mute groups 1-4 on/o state.

The snapshot page displays a list of parameters that are armed for recall.

Press the Edit Scope button to select individual channels/parameters that will

be recalled from a previously saved snapshot. Press the ‘All’ button to choose everything in a category. There may be channels, buses, parameters, etc. that should remain unaected throughout an event, so this method is benecial for its highly specic method of recall.

To save a snapshot, press the Save button and conrm the save location. A new entry will appear in the list, and you can use the pencil icon to edit the name.

To recall a previously-saved snapshot, select the item in the list and then press the Load button.

To delete a snapshot that is no longer necessary, select it from the list and then select Delete.

5.13 Eects

5.12 Snapshots

The snapshot function allows the current state to be saved inside the mixer for immediate recall. The complete mixer state will be stored into one of the 64 internal snapshots. Ever y snapshot has a set of buttons allowing a specic subset of information to be ltered during recall. This allows certain channels or parameters to be enabled or disabled before a snapshot is loaded.

The snapshot recall parameters are listed in 3 categories: channel, parameter and global.

The Channel Section lets you determine which channels or bus masters will be aected during recall.

The Eects page is accessed via the icon at the top of the main screen. There are 4 slots where various eects can be selected and adjusted to suit the application. Press the folder icon to activate an eect block. Press Edit to select a dierent eect, and press on the eect graphic to edit parameters. See the Eects Descriptions chapter for more details.

5.14 Routing

The Routing page allows the analog and digital inputs and outputs to be reassigned to dierent destinations. Select the group of inputs or outputs you want to edit from the top row, then press the block to which you want to reassign a channel.

The Parameter Section lets you determine which specic preamp elements will be recalled for the channels and buses selected in the Channel Section above. Source aects the input vs. USB selection, Input recalls basic preamp settings such as phantom and gain setting, and Cong recalls channel elements such as name, color, stereo link, low cut, and insert on/o. EQ, Dyn, Fdr/Pan and Mute recall these settings for the selec ted channels, and the bus/FX sends can be individually assigned for recall.

18 M AIR User Manual

5.15 Setup

The Setup page is accessed via the icon at the top of the main screen. Thisallowsthe channel layout to be modied, a console reset, and network settings tobeadjusted.

For situations when one person is speaking for extended periods of time, the Last Gate function may be helpful to keep the most recently active channel open, preventing unwanted artifacts of the gate opening and closing during pauses in speech.

Selecting Hard Mutes will cause a channel that has been muted with its dedicated Mute button will remain muted even if a mute group to which it belongs is unmuted. DCA Groups normally just control volume levels without actually having audio routing through them. However, engaging DCA Groups in the Mute System will enable channels to be muted via DCA group assignments.

To reset the mixer to factory settings, press the Initialize Mixer button, then press Yes to conrm.

The Audio/MIDI tab allows global settings for audio, MIDI and monitor options.

The console operates at 48 kHz by default, but can be changed to 44.1 kHz. TheRTA can be switched from pre to post-EQ to monitor the eect of EQ adjustments. Engage the 'Mute at Power On' function to avoid pops during start up. When the Link option is selec ted, adjacent channels are paired together. Aside from the fader settings being matched, the preamp, dynamics, EQ and fader/mute/sends can also be aligned.

Activate the desired MIDI transmit and receive options for the physical MIDI ports and the USB MIDI in the menu.

The solo options can be selected in the monitor section. Channels and buses can be set to pre or after fader listen, and the solo bus level, trim and dimmer attenuation can all be set.

5.16 Main EQ

There are 3 EQ options for the main and monitor buses: 6-band parametric, graphic, and “true” EQ. These are accessed by pressing the PEQ/GEQ/TEQ buttons on the right side.

This parametric EQ functions the same as the channel EQ, but there are 6bandsavailable.

This screen allows the conguration of your wireless network connection. SeetheNetwork Connection chapter for details.

The Layers list, also found on the right-hand side of the main screen, lets you select which channels/buses are visible on the main screen. Custom layers can also be created and edited, for example, to access only the drum channels.

The scribble strips are also edited on this page. Press a channel's blank box to assign a color and name for that channel. The buses and eect blocks can also be edited.

The GEQ and TEQ types appear to be identical, but the “true” EQ compensates for adjacent frequency adjustments. Most graphic equalizers have a multiplying eect when several neighboring bands are boosted or cut, causing an exaggerated EQ adjustment. The TEQ will have an EQ curve that is more indicative of the actual adjustments made on the sliders.

6. M AIR for Android

6.1 Main View

The Main View screen provides access to all 16 channel faders, Aux in, and FX and bus levels, as well as navigation to preamp controls, meters, FX slots and more.

19 M AIR User Manual

(6)

(7)

(1)

(2) (3)

(4)

(5)

1. The Channel Strip gives quick reference to the status of various preamp settings, and allows access to Gate, Dynamics, EQ, Pan and Input controls.

2. Touch a channel’s Solo button to send the channel to the solo bus. The corner of the button will light yellow to indicate that a channel has been soloed.

3. Each channel has a dedicated meter to monitor the input level. If the meter reaches the red clip lights, lower the gain control on the Input screen.

4. The Channel Fader adjusts a channel’s level, or adjusts the aux/FX/bus send level, depending on which layer is selected on the right-hand side.

5. Touch a channel’s Mute button to mute the channel. The button will light red when muted.

(8) (9)

(10) (11) (12) (13)

(14)

13. When using the Sends on Faders function, the bus to which the channel signals are sent is selected with the button directly below the Sends on Faders button. Pressing the Bus Master button will allow the send level for the selected bus to be adjusted.

14. Access the FX Send and Main LR faders with this button.

6.2 Input

The Input section allows adjustment of the most common preamp parameters such as gain, phase and phantom power. This is accessed from the Main View screen by pressing just above the Solo button in the channel strip area. By default, each channel will have a generic name such as “Ch 01” or “Bus 1”, but this can be customized in this section.

(4) (5) (6) (7)(3) (8)

(1) (2)

6. Access the Meters, Eect Rack, Snapshots, Show/Scene, Routing and Setup pages by touching these buttons.

7. Engaging the Fine but ton causes the faders to be adjusted in smaller increments, allowing more precise control.

8. Select a channel bank 1-8 or 9-16 with these buttons.

Note: all fader layers can be edited and new layers can be created for a

customized mixing arrangement. See ‘6.14 Setup - Layers’ for details.

9. Access the Mute Group edit screen by pressing the Mutes button:

Engage the Mute Lock button to prevent accidental muting of individual channels. Mute All and Unmute All are quick ways to fully mute or unmute all sources. Tap one of the 4 Mute Group buttons to mute the channels assigned to that group, and hold one of the buttons to edit which channels are assigned to the group.

10. Access the Aux and FX return faders with this but ton.

11. Activate the Sends on Faders function with this button. When active, thefaders control the bus send levels for the currently active bus (seecallout13). Moving between the channel and Aux/FX layers allows the sends for those layers to be adjusted as well.

1. Touch this top button to access the Scribble Strip page where a custom name and color can be selected.

2. Adjust the Pan by touching this button.

3. The on/o status and basic parameters for several preamp features can be adjusted on this page. To edit in detail, press Cong, Gate, EQ, etc.

4. Many preamp functions have factory settings that can be accessed from the folder icon.

5. Current settings can be saved for later recall.

6. Press this button to copy the current settings.

7. Press this button to paste the recently-copied settings from one channel toanother.

8. Skip to the previous or next channel with the arrow buttons.

6.3 Cong

(6) (7)

(1) (2)

(3) (4) (5)

1. Invert the phase with this button.

(8)

(9)

(10)

12. Access the bus master faders with this button. Note that these will not be visible when the Sends on Faders function is active.

2. Press the Link button to link the adjacent channel for stereo operation.

20 M AIR User Manual

3. Engage the 48 V phantom power by pressing and holding this button.

It is best practice to engage phantom power before running audio in a channel, allowing all voltages to stabilize and prevent any noise during the performance.

4. Adjust the analog input Gain with this control.

5. Engage an eect Insert and select the FX bus that will be inserted.

6. The source for the channel’s physical input and USB input can be selected

with these pull-down menus.

7. Select whether the analog input or USB input appears at this channel.

8. The S/E button appears at the top of many edit pages, and oers the option

to view a simple or expanded set of controls, especially for the Gate and Dynamics pages.

9. Engage the Low Cut with this button to remove unwanted low frequencies.

10. Adjust the digital Trim for the USB input with this control.

6.4 Gate

The Gate tab allows a noise gate to be engaged and adjusted to remove unwanted noise. Using the S/E button, a simple or expanded set of parameters can be selected to accommodate various levels of mixing expertise. Presets can also be selected from the folder icon to automatically load settings that suit yourapplication.

10. Select the frequency for the key lter.

6.5 EQ

(1) (2) (3) (4)

(5) (6)

(7)

1. Engage the EQ with the ON button.

2. Engage the Lowcut button to remove unwanted low frequencies.

3. Select the type of EQ for the selected band. This menu will only be available when one of the 4 bands are active, not including the lowcut.

(5)

(1) (2)

(3)

(4)

1. Engage the gate with the ON button.

2. The function menu allows various types of gates to be selected. The EXP 2, 3 and 4 settings expand the dynamics by attenuating signals below the threshold by factors of 2:1, 3:1 and 4:1 respectively. The Gate setting completely cuts o signals below the threshold. The Ducker setting attenuates the signal by a predetermined amount whenever the signal rises beyond the selectedthreshold. This eect is usually controlled by an external key source, such as another channel's signal. Change the key source from “self” to any other channel (see callout #9).

3. Adjust the Threshold that the audio must reach in order to bypass the gate or engage the Ducker.

4. The Range parameter adjusts the amount of attenuation for the GateandDucker.

5. Adjust the Attack knob to set how quickly the gate takes eect when the input signal drops below the threshold.

(6)

(7)

(8)

(9)

(10)

4. Drag the band button lef t and right to determine the specic frequency, andmove it up and down to determine the amount of boost or cut. Useapinch or spread gesture (zoom in/out) to alter the bandwidth/Q.

5. Select the source for the RTA to display.

6. To automatically send the channel that you are currently editing to the RTA, press the Follow button.

7. Press the Post button to display the post-EQ results in the RTA.

Graphic EQ

6. Adjust the Hold knob to set how long the input signal must surpass the threshold before bypassing the gate.

7. Adjust the Release knob to set how quickly the gate releases after the audio rises above the threshold.

8. Engage the key lter with the Key On button.

9. Select a low cut, high cut or mid peak frequency and bandwidth/slope for ltering the key signal that is controlling the gate. The key source is usually set to “self”. Choosing a dierent key source allows another channel or bus to control the gate, e.g. for ducking the hi-hat channel whenever the snare drum is hit.

21 M AIR User Manual

There are 3 EQ options for the Main LR and Aux buses: 6-band parametric, graphic, and “true” EQ. The parametric EQ functions the same as the channel EQ, only with 6 bands available. The GEQ and TEQ types appear to be identical, butthe “true” EQ compensates for adjacent frequency adjustments. Most graphic equalizers have a multiplying eect when several neighboring bands are boosted or cut, causing an exaggerated EQ adjustment. The TEQ will have an EQ cur ve that is more indicative of the ac tual adjustments made on the sliders.

6.6 Dynamics

A channel’s dynamics can be adjusted on this page. A compressor is useful for reducing the dynamic range of a signal, allowing the perceived volume in the mix to be raised without clipping. An expander can add dynamics by attenuating a signal when it drops below the predetermined threshold. Using the S/E button, a simple or expanded set of parameters can be selected to accommodate various levels of mixing expertise.

(6)(5) (8)(7) (10) (11)(9)

(1)

(2) (3)

(4)

(12) (13)

(14) (15)

15. Select the lter frequency and source for the key signal. In most applications, a channel's own signal, i.e. “self”, will be used to trigger the compressor. However, when a channel shall be compressed from another signal, e.g. a subgroup compressor controlled from the bass drum signal, this can be achieved by selecting the other channel as the key source.

6.7 Sends

The Sends screen allows the currently selected channel’s signal to be routed to the 6 Aux outputs and to the 4 Eects processors. Aux and Eects routing can also adjusted using the fader banks on the right-hand side of the Main View screen. The signal can be routed to the buses from specic points in the preamp chain, such as pre or post EQ (the S/E button must be active).

6.8 Main

1. Engage the processor with the ON button.

2. Adjust the Threshold at which the compressor begins to take eect. Audiothat falls below this setting will remain unaected.

4. Adjust the Ratio to determine how aggressively the dynamics are aec ted.

5. Select between a compressor or expander to set the action of the dynamics processor. While a compressor reduces a signal’s dynamics, an expander increases the dynamic range.

6. Adjust the Attack knob to set how quickly the compressor takes eect when the input signal rises above the threshold.

7. Select between Peak or RMS input response. RMS is most common in compressors, and responds to the average level of incoming audio, whereasthe Peak setting responds to brief spikes in loudness that would be allowed through when set to RMS.

8. Adjust the Hold knob to set how long the compressor takes to enter the release cycle once the audio drops below the threshold.

9. Select between an aggressive Linear or smooth Logarithmic operation.

10. Adjust the Release knob to set how quickly the compressor releases after the audio drops below the threshold.

11. Use the Gain knob to compensate for changes in level caused by theprocessor.

12. Adjust the Mix knob to determine how much of the signal is lef t unaected by the processor.

13. Select a high cut, low cut or mid peak frequency and bandwidth/slope for the key lter.

When the LR On button is active, the channel is assigned to the main bus. For sources that are not intended for the audience to hear, such as click tracks, removing the channel from the main bus eliminates the potential to accidentally mix that source into the mains. The channel's pan can also be adjusted here, and both pre-fader and after-fader listen meters can be monitored.

This page also allows the channel to be quickly assigned to a DCA, Mute Group or Automix group.

The Auto Mix function is very useful for meetings or panel discussions where multiple microphones are used for speech. The mic channels can be assigned to one of two auto mix groups, which will automatically attenuate the channels that are not currently receiving signal. Click the X or Y auto mix buttons in the Main tab to assign several channels to an auto mix group.

Navigate to the Setup - Preferences tab and engage the Show button under Automix. This will cause an Automix X and Y button to appear on the Main View screen.

Whenever an auto mix bus is engaged, a blue gain reduction meter will indicate the amount of signal reduction for any channels assigned to the bus. This allows the current speaker to be heard clearly while suppressing any noise from the other microphones. In each channel's Main tab, a Weight knob is included which allows certain channels to be attenuated more or less to compensate for louder voices or more sensitive microphones.

14. Engage the key lter with the Key On button.

22 M AIR User Manual

6.9 Meters and RTA

The Meters tab allows easy monitoring of all analog and digital levels, including USB channels, Buses, Ultranet outputs, and the Main and Solo buses.

RTA

Click the camera icon at the top of the main screen. A window will open with a list of parameters to select for recall. You can select individual channels/parameters that will be recalled from a previously saved snapshot, or click the ‘All’ button to choose everything in a category. There may be channels, buses, parameters, etc. that should remain unaected throughout an event, so this method is benecial for its highly specic method of recall.

To save a snapshot, press and hold one of the slots in the left-hand list. A new entry will appear in the list where you can type in a name for the new snapshot. To recall a previously-saved snapshot, press and hold the item in the list and then select the Load option. Note that all aspects of the current arrangement will be saved to a new snapshot slot, and the specic elements of that snapshot can be selected upon recall.

The snapshot recall parameters are listed in 3 categories: channel, parameter and global.

The RTA (real time analyzer) allows constant visual frequency feedback of the selected source. The RTA Source pull-down menu allows a specic channel or bus to be xed to the RTA, and the signal can be tapped pre or post EQ. The Decay adjustment controls how quickly the frequency bands fall after reaching their initial indication. Select Peak to monitor the rapid changes in frequency response, or RMS to view an average response over a longer period of time.

6.10 Eect Rack

The Eect Rack page is accessed via the “FX” icon at the top of the Main View screen. There are 4 slots where various eects can be selected and adjusted to suit the application. Tap on the eect slot to select an eect and adjust the available parameters.

6.11 Snapshots

The Channel Section lets you determine which channels or bus masters will be aected during recall.

To delete a snapshot that is no longer necessary, press and hold the snapshot until the Load/Save/Delete box opens, then select Delete.

6.12 Scenes and Shows

The Scenes/Shows page is accessed via the folder icon at the top of the MainViewscreen. This page allows you to save, edit and recall specic scenes from the active show that is stored on your Android device. To prevent certain channels or buses from being aected by scene or show recalls, arm the desired sources in the ’Channel safes’ section.

Tapping SHOWS in the top right corner will open the show overview page, allowing you to load/save/edit/delete an existing show or create a new one.

6.13 Routing

The Routing menu is accessed via the up/down arrow icon at the top of the MainView screen. This allows the specic routing of input, output, USB and monitor buses to be adjusted freely.

23 M AIR User Manual

Tap inside an empty box in the grid to move the orange dots and reassign the source for input channels, USB channels and P16 monitoring sources. Modications to the Inputs/USB routing can be reset by pressing the revert button on the far right. The USB sends and inputs can be selected from a menu in the folder icon, or they can be moved manually.

The Solo Channel and Solo Bus can operate in pre-fader or after-fader listen mode. The solo level can be adjusted if necessary as well. A PFL dimmer can be engaged and adjusted to cause a drop in volume whenever a pre-fader (PFL) signal is soloed, in order to match typical post fader (AFL) levels. The solo bus can operate in mono or stereo. The source and tap for monitoring can be selected from a pull-down menu. This monitor signal will be heard when no channels are soloed.

The Routing – Outputs page allows the Main LR, Phones, Aux and P16 sources to be reassigned.

6.14 Setup

The Setup menu is accessed via the top right corner of the Main View screen. This allows access to several global settings, network congurations and layoutfeatures.

Preferences

The Setup – Audio/MIDI page allows editing of MIDI receive (Rx) and transmit (Tx) settings, as well as several global system parameters.

The transmit, receive and OSC settings can be independently activated for the DIN connectors and USB MIDI. The console can also pass USB MIDI through the MIDI OUT connector.

The console defaults to “soft mutes”, meaning that if a channel has been specically muted, and is also a part of a mute group, when the mute group is unmuted, the channel that was specically muted will also be unmuted. Selecting Hard Mutes will cause a channel that has been muted with its dedicated Mute button will remain muted even if a mute group to which it belongs is unmuted. DCA Groups normally just control volume levels without actually having audio routing through them. However, engaging DCA Groups in the Mute System will enable channels to be muted via DCA group assignments.

The console can operate at 48 kHz or 44.1 kHz. Mute the main LR fader before changing clock rates as pops can occur.

The MR18 has an 18x18 channel USB audio interface built-in, which is useful for recording sessions. You may, however, choose to switch to 2x2 channel mode for simple media player applications when you don’t want to mess around with multiple USB audio streams in your host PC.

Click the Initialize button to reset all system parameters. All settings will be lost, so make sure to save any scenes or shows to a PC hard drive rst.

When the Link option is selected in a channel's Cong page, the adjacent channel is linked as a stereo pair. Aside from the fader settings being matched, the preamp, dynamics, EQ and fader/mute/sends can also be aligned, depending which items are activated at the bottom of the Audio/MIDI page.

The Preferences screen allows the auto mix X and Y buttons to be viewed on the Main View screen.

This screen allows the conguration of your wireless network connection. See the Network Connection chapter for details.

24 M AIR User Manual

The Setup – Layers page allows the order of channels and buses to be altered. Bydefault, only 8 channels are visible on the Main View screen at one time, butthis can be edited to allow, for example, all 16 input channels to be seen at once. A new layer can also be created to contain a custom mix of inputs and buses. Byincreasing the visible channels per layer to 9, the Main LR fader could be added to all of the fader banks so it is always available for adjustment.

1. The Navigation Tabs allow quick access to various edit menus.

2. The Channel Strip area gives a quick reference to the status of phantom power, aux send levels, pan, etc., The gain, aux levels, FX send levels and pan can be adjusted by clicking and dragging left or right inside the respective section. Click the Gate, EQ and Comp sections to jump to the edit pages for that channel.

Note – the following items are always visible regardless of which tab is selected:

3. Left-click the channel number to select that channel. Right-click to change the name and color of the channel.

4. Touch a channel’s Solo button to send the channel to the solo bus. The button will light orange to indicate that the channel has been soloed.

5. The Channel Fader adjusts a channel’s level, or adjusts the aux/FX send level, depending on which layer is selec ted on the right-hand side.

6. Click a channel’s Mute button to mute the channel. The button will light red when muted.

Custom layers can be saved and recalled later, and the layers can be restored to their default settings. The Setup menu also allows quick access to the Scribble Strips for changing channel names and colors.

The Scribble Strip page allows a custom name and color to be assigned for each channel, bus, FX send/return, and DCA group.

7. M AIR Edit for PC

7.1 Main View and Mixer Tab

7. Use the Save and Load icons to save and recall show scenes and saved channel settings.

8. Access the Setup and Routing screens via the icons in the upper right corner. The Utility feature provides access to additional oating windows that provide constant access and monitoring for certain functions. See section

7.13 for details. The Resize button allows the window to automatically t various screen resolutions up to 4k, as well as conform to a custom size.

9. Use the Copy and Paste but tons to transfer information between channels. After clicking Paste, a window will open to allow a specic parameters to be selected.

10. The Snapshot feature lets you save the current state of the mixer for later recall. The specic parameters that should be recalled can be determined at the time that a new snapshot is created, and can also be rened later before the snapshot is actually loaded. Dedicated controls allow the saved snapshots to be shued through and loaded directly from the main mixer view. See section 7.12 for details.

11. Engage the Auto Mix X and Y buses here. See section 7.14 for details.

12. The Fader Bank buttons determine which layer is active in the faders. When set to Main LR, the faders adjust the channel volume levels sent to the main bus, and the main output is adjusted with the far-right fader. When one of the bus or FX layers are selected, the faders adjust each channel’s send level to that bus for monitoring or eects routing. The overall bus level is adjusted with the far-right fader. To assign a channel to a DCA, select the DCA group 1-4 and then click the small circle located above each channel fader that you want to assign to that group. The group number will be indicated in the circle.

(2)

(3) (4)

(5)

(6)

*OS X is a trade mark of Apple Inc.

(1)

(11)

(8)

13. The main level fader adjusts the output of the currently-selec ted bus.

14. The 4 Mute Group buttons engage the mute groups. Click one of the 4

(9) (7)

(10) (11)

small boxes below each channel fader to assign that channel to a particular mute group.

7. 2 Channel Tab

The Channel tab allows quick access to the most common preamp parameters, as well as basic control over the noise gate, compressor and bus sends. Most of the adjustments on this tab can also be found in greater detail on other tabs.

(12) (13)

25 M AIR User Manual

(1)

(2) (4) (5)

(3) (7) (9)(8)

(6)

1. Click the FX button to engage an insert eect. The specic FX block is selected with the adjacent pull-down menu.

2. The Stereo Link button allows a channel to be paired with the adjacent channel in a stereo pair. The fader level, gain setting, bus sends, etc. will be the same between the 2 channels, and the pan will default to hard left and right. The odd-numbered channel will always be the lower of the pair. See chapter 7.11 for available link preferences on the Setup Audio/MIDI page.

3. The Phantom button engages the 48 V phantom power for use with condenser microphones and active DI boxes.

4. The Polarity button inverts the phase.

(10)

(11)

3. The Phantom button engages the 48 V phantom power for use with condenser microphones and active DI boxes. It is recommended to engage phantom power well ahead of running audio in a channel in order to allow all voltages to stabilize and prevent any noise during performance.

4. The analog Mic Gain and digital USB Trim can be adjusted independently, though only one source can be used at a time.

5. The analog input and USB input channels default to a 1:1 relationship to the channel number, but can be re-routed using the pull-down menus.

6. Select whether the analog mic/line input or the USB input appears in the channel.

7. Engage the Low Cut and adjust the specic frequency to remove unwanted lows.

8. Click the FX button to engage an insert eect. The specic FX block is selected with the adjacent pull-down menu.

7.4 Gate Tab

The Gate tab allows a noise gate to be engaged and adjusted to automatically remove unwanted noise.

(2) (3) (4)

(1)

(7) (8) (9) (11)(5) (10)

(6)

5. Click the USB button to route the USB return signal to the selected channel instead of the analog input.

6. The analog Mic Gain and digital USB Trim can be adjusted independently, though only one source can be used at a time.

7. The Noise Gate can be engaged and the threshold can be adjusted from this page. More detailed controls are available on the Gate tab.

8. The Equalizer and Low Cut can be engaged here, as well as the low cut frequency.

9. The Compressor can be engaged and its threshold adjusted here. More detailed controls are available on the Comp tab.

10. The channel Aux Bus Sends can be adjusted here as well as the Sends tab.

11. The Main Out section allows the channel to be routed to or removed from the main bus. The pan can also be adjusted, and the Auto Mix, DCA Group and Mute Group assignments can be selected here as well.

7. 3 Input Tab

The Input tab allows adjustment of the most common preamp parameters as well as specic routing for the input and insert.

(2) (3) (8)(7)(1) (5) (6)(4)

1. Select one of the 4 Presets to automatically optimize the parameters for one of these common sources.

2. Engage the Noise Gate with this button.

3. Adjust the Threshold that the audio must reach in order to bypass the gate or engage the ducker.

4. The Range parameter adjusts the amount of signal attenuation for the Gate and Ducker settings.

5. Select the type of eect from the 5 options. Expander eects are available with 2:1, 3:1 and 4:1 ratios which reduce the output by varying amounts, allowing a natural sounding reduction of signals that don’t reach the selected threshold. The Gate setting enables a more aggressive drop in volume for signals below the threshold. An additional Range parameter adjusts the amount of attenuation. The Ducker setting attenuates the signal by an adjustable amount whenever the signal rises beyond the selected threshold. The Range parameter adjusts the amount of attenuation for this setting as well.

1. The Stereo Link button allows a channel to be paired with the adjacent channel in a stereo pair. The fader level, gain setting, bus sends, etc. will be the same between the 2 channels, and the pan will default to hard left and right. The odd-numbered channel will always be the lower of the pair.

2. The Polarity button inverts the phase.

6. Adjust the Attack parameter to set how quickly the gate opens up when the signal rises above the threshold.

7. Adjust the Hold parameter to set how long the gate will stay open after the signal drops below the threshold.

8. Adjust the Release parameter to set how quickly the gate will close after the hold time has ended.

9. Engage the key Filter with this button, which can be used to emphasize the specic frequency range that will open up the gate, or exclude certain frequencies that you do not want to aect the gate.

26 M AIR User Manual

10. Select the type of lter and frequencies with these faders.

11. Select a channel or bus for the side chain from the pull-down menu. For the gate and expander functions, the key lter is usually set to “self ”, but the ducker can use another channel's signal to trigger the desired attenuation.

7. 5 EQ Tab

(1)

(2) (3) (5) (6) (12)

(7) (8) (9)

1. Engage the Low Cut and adjust the specic frequenc y to remove unwanted lows.

2. Turn the equalizer on and o with the EQ button. If a bus output is selected, a graphic EQ can also be engaged with the options below the EQ button.

3. Use the Reset button to return all bands to their default settings. A conrmation box will pop up to prevent accidental resets.

4. Select the Mode from the pull-down menu. PEQ types will often be used for the rst 3 bands, and a high cut or high shelf for the 4th band.

5. The currently-active band will be indicated on this button.

6. Click this button to turn a specic band on and o. This is useful for A/B testing how an adjustment aects the signal.

7. The gain adjustment for each band can be manually entered here, or you can click and drag the band's corresponding number up and down.

8. The bandwidth (Q) can be manually entered here. Alternatively, you can place the mouse over the numbered dot for an EQ band and change the bandwidth with the mouse wheel.

9. Each band’s specic frequency can be manually entered, or you can click and drag the band's number to the desired frequency.

10. Engage the Spectrograph function to change from the standard RTA view to a spectrogram, which displays the signal energy over time. This can be useful for identifying feedback or phasing problems.

11. Press the Pre button to display the RTA pre-EQ rather than post-EQ.

(4)

(10) (11)

1. Select one of the 4 Presets to automatically optimize the parameters for one of these common sources.

2. Engage the Compressor with this but ton.

3. Adjust the Threshold at which the compressor begins to take eect. Audio that falls below this setting will remain unaected.

4. Select between a Compressor or Expander to set the action of the dynamics processor. While a compressor reduces a signal's dynamics, an expander increases the dynamic range.

5. Select a Knee angle to set how gradual the compressor takes eect. When set to 0, any signals that rise above the threshold will receive the full compression ratio.

6. Select between Peak and RMS input response. RMS is most common in compressors and responds to the average level of incoming audio, whereas the Peak setting responds to brief spikes in loudness that would be allowed through when set to RMS.

7. Select between an aggressive Linear or smooth Logarithmic operation.

8. Adjust the Ratio to determine how aggressively the dynamics are aec ted.

9. Adjust the Mix to determine how much of the signal is left unaected by the processor, commonly called parallel or "New York" compression.

10. Adjust the Gain to compensate for changes in level caused by the processor.

11. Engage the Auto Time to allow several of the more advanced parameters to be automatically adjusted according to the input signal.

12. Adjust the Attack to set how quickly the compressor takes eect when the input signal rises above the threshold.

13. Adjust the Hold to set how long the compressor takes to enter the release cycle once the audio drops below the threshold.

14. Adjust the Release to set how quickly the compressor releases after the audio drops below the threshold.

15. Engage the key Filter with this button.

16. Select the type of lter and frequencies with these faders.

17. Select a channel or bus for the side chain input from the pull-down menu. In most applications, a channel's own signal will be used to trigger the compressor, and therefore the key lter should be set to “self”. However, a technique called “sidechain” compression can be achieved by selecting another channel as the key source.

7.7 Sends Tab

12. Engage the RTA (Real Time Analyzer) with this button.

7.6 Comp Tab

(2) (5) (11) (15) (17)(6)(7)(3) (4)

(1)

(8) (9) (10) (12) (13) (14)

(16)

The Sends tab allows the currently-selected channel's signal to be routed to the 6 Aux buses and to the 4 FX processors. These adjustments can also be made on the Channel tab, or by selecting one of the Fader Bank layers on the lower righthand side of the main view screen. The signal can be routed to the buses from specic points in the preamp chain, such as pre or post EQ and pre or post fader. Clicking the globe icon will enable changes to the tap point (pre/post fader, etc) to take eect on all channels.

27 M AIR User Manual

7.8 Main Tab

All of the controls on the Main tab are also accessible from the Channel tab. The channel’s signal can be unassigned from the main output, which is useful when recording sources that aren’t meant to be heard by the audience, or for sources such as click tracks that are only meant for the performers’ mixes and not the main speakers. The channel’s pan control can be adjusted and DCA, Mute Group and Auto Mix assignments can be made as well.

Note - when applying groups processing to channels that are mixed on a subgroup, the input channels would be unassigned from the Main LR to ensure that only the processed subgroup is heard on Main LR.

7.9 FX Tab

Connection Tab

After you connect your computer to the internal Access Point or external router, the software will likely automatically recognize the mixer and ask to connect. Once connected, a prompt will ask if you would like to transfer settings from the mixer to PC, or from the PC to the mixer. Synchronization is generally recommended to ensure proper parameter display, but you may also click ‘cancel’ if you don't want to sync settings. The Connection tab also allows you to manually enter an IP address for situations where a network router is blocking the broadcast from the app.

Note - save your settings to your computer’s hard drive before updating the rmware!

By default, a generic name, such as MR18-1B-10-F3, will be assigned to your mixer. This can be changed to something more specic and recognizable. The console can also be initialized back to its factory state, but be aware that all settings will be erased. We highly recommend using the Save function to store any important scenes to your computer's hard drive.

The FX tab has 4 eec t processors that can be routed and adjusted to various channels and buses. A new eect can be selected by clicking the pull-down menu where the current eect’s name is displayed, or by clicking the Type button which also shows a graphic view of each eect. Once a desired eect is selected, click on the graphic to bring up the edit window where the specic parameters can be adjusted. If applicable, a tap tempo button is available to manually enter the rate of delays or choruses. The button will ash to indicate the tempo. Click the Insert button to engage the eect as an insert instead of side-chain. Select the channel or bus where the eect shall be inserted with the pull-down menu. See the Eects Overview chapter for more details.

7.10 Meter Tab

The Meter tab allows easy monitoring of all analog and digital levels, including USB channels, Buses, Ultranet outputs, and the Main and Solo buses. All meters show pre-fader levels except the Main LR which shows post fader signal level.

7.11 Setup Menu

The Setup menu allows the wireless connection to be congured and allows various global parameters to be selected and adjusted.

Access Point, WLAN, LAN Tabs

The Access Point, WLAN and LAN tabs allow the wireless connection to be congured. See the 'Network Connection' chapter for details.

Audio/MIDI Tab

The Audio/MIDI tab allows various global settings to be assigned. The console can operate at 48 kHz or 44.1 kHz. Mute the main LR fader before changing clock rates as pops can occur.

Engage the Safe Levels function to automatically mute the outputs during a power cycle. This is particularly useful for situations where the mixer is always connected to a PA system or monitoring setup.

28 M AIR User Manual

The Link Preferences allow specic preamp elements to be synchronized when adjacent channels are linked.

The MR18 has an 18x18 channel interface built-in, but sometimes this is overkill for a recording session. For overdubs and simple tracking, the 2x2 interface is more ecient and easier on processing power.

Various send (Tx) and receive (Rx) preferences are selectable for the MIDI conguration. Note that all MIDI Cong parameters should be unchecked in order for the BEHRINGER X-TOUCH control surface to control the M AIR mixer via IP networks or MIDI.

Monitor Tab

Exclusive solo mode allows only one source to be soloed at a time. Pressing a channel’s Solo button will automatically un-solo previously soloed channels.

The ‘Fine’ fader mode allows adjustments to the faders to occur more gradually, allowing more precise control when making small changes.

The update rate defaults to 100%, meaning the meters and RTA display immediate feedback of the audio signals. However, this can be adjusted to 50%, which shows less detail but also conserves on processing power.

The conguration of the application’s windows can be stored and recalled upon launch. Click the Initialize button to clear the stored window conguration, useful in case some resizing operations have rendered windows inaccessible or moved o the screen.

Use the Always on Top selection to keep certain windows in view regardless of other windows being adjusted. Bus names can be shown on the main screen instead of ‘Bus 1’, ‘Bus 2’, etc.

7.12 Snapshot Page

The snapshot function allows specic bits of information to be saved for immediate recall. For example, quick changes can be selected for dierent acts of a play, performances in a music festival with several bands, or dierent church services.

The monitor source defaults to the main LR (post-fader), but you can selec t a bus, aux, USB 17/18 or a combination of buses. Soloed channels and buses can be monitored pre or post-fader. PFL attenuation can be engaged and the relative levels for monitor and source can be set. Click the DIM button to enable dimming and select the at tenuation level. The monitor bus can be set to mono and can be muted from this page.

GUI Preferences Tab

Various preferences pertaining to the graphic user interface behavior can be made on this tab.

Select the ‘Apply changes to all channels’ option if you would like changes made to bus send taps (pre/post-EQ, etc) to be applied to all channels. This is also accessible in each channel Sends tab as the globe icon.

Auto Select options allow the last soloed channel to be selected automatically, and allow a channel to be automatically selected whenever its fader is adjusted.

Click the ‘Snapshots’ icon on the right hand side of the main screen. A window will open with a list of parameters to select for recall. You can select individual channels/parameters that will be recalled from a previously saved snapshot, or click the ‘All’ button to choose everything in a category. There may be channels, buses, parameters, etc. that should remain unaected throughout an event, so this method is benecial for its highly specic method of recall.

To save a snapshot, click one of the slots in the lef t-hand list. A new entry will appear in the list where you can type in a name for the new snapshot. Note that all aspects of the current arrangement will be saved to a new snapshot slot, and the specic elements of that snapshot can be selected upon recall.

The snapshots recall parameters are listed in 3 categories: channel, parameter and global.

The Channel Section lets you determine which channels or bus masters will be aected during recall.

The Parameter Section lets you determine which specic preamp elements will be recalled for the channels and buses selected in the Channel Section above. Source aects the input vs. USB selection, Input recalls basic preamp settings such as phantom and gain setting, and Cong recalls the conguration. EQ, Dyn, Fdr/Pan and Mute recall these settings for the selected channels, and the bus/FX sends can be individually assigned for recall.

Global Settings allow the input/output routing to be recalled, as well as global conguration, DCA assignments, and FX block settings.

To delete a snapshot that is no longer necessary, select it from the list and click Delete.

29 M AIR User Manual

7.13 Utilities

Utilities oer convenient editing and customization of items that are not easily controlled on other windows or menus.

Meter

The Decay adjustment controls how quickly the frequency bands fall af ter reaching their initial indication. Peak Hold will leave a small marker to indicate the peak measurement over a longer period of time while still monitoring the ne audio activity. RTA Gain compensates for audio levels, ensuring accurate readings. Select the Auto Gain feature to automatically select an appropriate RTA gain level. The EQ overlay adjustment controls the opacity of the RTA when viewing channel EQ curves. Select Spectrograph to view the audio energy across the spectrum, where blue represents lower levels and red indicates higher levels. Note that this only aects the RTA utility window and not the individual channel EQs.

Channel and Graphic EQs can be preassigned to have spectrograph RTAs, and can operate as pre or post-EQ. These selections can be overridden on the channel/bus EQ tab. Select the ‘Use RTA Source’ option if you want to view a source’s RTA while adjusting another channel's EQ. This is useful for connecting a measurement mic to one of the input channels and selecting it as RTA source. The RTA displayed (for example, on the Main LR or Monitor output bus EQ) will now always use the actual room mic signal so that you can tune the system easily.

Select a 30 or 60 dB gain range, and pre or post EQ results. Select Peak to monitor the instantaneous changes in sound level, or RMS to view an approximated power spectrum that better corresponds to perceived levels.

Buses Utility

A dedicated window is available to keep the main and monitor/solo levels in view regardless of the focus of the main screen.

RTA Utility

The RTA utility allows customization of the appearance and functionality of the real time analyzer. The RTA Source pull-down menu allows a specic channel or bus to be xed to the RTA, or the RTA can follow the active channel. Select Solo Priority to send any soloed channel to the RTA.

The Buses utility window gives convenient access to all of the channel strip functions of all 6 buses and the main LR at the same time. This window can be left open so that changes can be made without having to select individual buses in the main window.

DCA Utility

30 M AIR User Manual

Similar to the Buses utility, the DCA utility window allows all 4 DCA groups to be easily monitored and adjusted.

A custom set of channels, buses and/or DCA groups can also be congured in 2 user-dened windows. This has the added feature of expanding the channel strip to include the gain level, bus sends, and other information that is normally visible in the mixer tab in the main window.

7.14 Auto Mix

The Auto Mix function is very useful for meetings or panel discussions where multiple microphones are used for speech. The mic channels can be assigned to one of two auto mix groups that operate independently. The overall gain of all assigned channels in the same group will automatically be distributed according to the individual speaker’s levels. Hence, microphones that are spoken to will take away gain from other unused channels, eectively reducing background noise and increasing output level before feedback. Click the X or Y auto mix buttons on the right side of the main window, then click the right-hand circle just above each channel fader that you want to assign to the auto mix. An X or Y will appear in the circle to indicate the assignment. The channels will be assigned to whichever auto mix group (X or Y) is currently active.

Whenever the auto mix bus is engaged, a blue gain reduction meter will indicate the amount of signal reduction. This allows the current speaker to be heard clearly while suppressing any noise from the other microphones. A white arrow also appears next to each fader assigned to the auto mix bus, which allows certain channels to be attenuated more or less to compensate for louder voices or more sensitive microphones.

When noise gates are used together with automixing, it may be helpful to select the Last Gate box beneath the auto mix button. This keeps the most recently active channel open, preventing that channel’s background noise from being chopped o completely by the gate closing during pauses in speech.

31 M AIR User Manual

8. MIDI

MIDI RX / TX CH CMD No. Val ue Comment

Snapshots 1 Pr g Chg 1-6 4 

Fade r

CH Faders 1 CC 0-1 5 0...127 Inp ut Channels 1-16

CH Faders 1 CC 16 0...127 Au xLineIn 17-18 / USB Recorder Play back(stereo)

CH Faders 1 CC 17-20 0...127 F X1-4 Return (stereo)

Send Faders 1 CC 21-26 0...127 Aux1-6 / Subgroup

Send Faders 1 CC 27-30 0...127 F x1-4

Main Fader 1 CC 31 0...127 Main LR (stereo)

DCA Fader 1 CC 32-35 0 -127 DCA 1- 4

Mute

CH Mutes 2 CC 0-1 5 0/127 Inpu t Channels 1-16

CH Mutes 2 CC 16 0/127 Au xLineIn 17-18 / USB Recorder Play back(stereo)

CH Mutes 2 CC 17-20 0/127 FX1-4 Ret urn (stereo)

Send Mute s 2 CC 2 1-26 0/127 Aux1-6 / Subgroup

Send Mute s 2 CC 2 7-30 0...127 Fx1-4

Main Mute 2 CC 31 0/127 Main LR (stereo)

DCA Mute 2 CC 32-35 0-1 27 D CA 1-4

Mute Groups 2 CC 36-39 0 -127 Mute Gro ups 1-4

Panorama/Balance

CH PA N 3 CC 0-1 5 1...127 Pan orama Input Channe ls 1-16, 64 =center

CH PA N 3 CC 16 1...127

CH PA N 3 CC 17-20 1...127 Balance FX1-4 Return, 64=center

Aux PAN (Subgroup) 3 CC 2 1-26 1...127 Panor ama Aux1-6 / Subgroup, 6 4=center

Main Balance 3 CC 31 1...127 Balance Main LR, 64=center

X OSC

Text based O SC  SYX  

Program C hanges 1-64 on Chann el 1 can be used to recall sn apshots 1-64 sto red inside MAIRmixer s.

Balance Aux LineIn 17-18 / USBRe corderPlayback, 64=center

Open Soun d Control via Sysex F0 00 20 32 32 TE XT F7 With ‘TE XT’ being OSC st rings in hex forma t, upto 39 kB in length

32 M AIR User Manual

9. Specications

9.1 MR18

Processing

Number of processing channels 18 input channels, 4 FX return channels,

6aux buses, main LR

Internal eects engines 4 true stereo

Signal processing 40-bit oating point

A/D-D/A conversion 24-bit @ 44.1 / 48 kHz,

115 dB dynamic range

Analog I/O latency* 0.8 ms

Connectors

Programmable mic preamps, 16 XLR/TRS combo jacks, balanced designed by MIDAS PRO

Line / Aux inputs, stereo 2 TRS, balanced

Main outputs 2 XLR, balanced

Aux outputs 6XLR, balanced

Phones outputs 1 TRS

ULTRANET 1 RJ45

MIDI inputs / outputs 1/1 DIN

Ethernet 1 RJ45

Input/Output Characteristics

Frequency range, @ 48 kHz 20 Hz - 20 kHz sample rate, +/- 0.5 dB

Dynamic range, analog in to 108 db, 22 Hz - 22 kHz unweighted analog out

A/D dynamic range, 110 db, 22 Hz - 22 kHz unweighted preamp to converter

D/A dynamic range, 111 db, 22 Hz - 22 kHz unweighted converter and output

Cross talk rejection @ 1 kHz, 90 dB adjacent channels

Mic/Line 1-16 Input impedance 10 kΩ XLR jack, unbal. / bal.

Non clip maximum +23.5 dBu input level, XLR

Line 17-18 Input impedance, 20 kΩ / 40 kΩ TRS unbal. / bal.

Non clip maximum +21 dBu input level, TRS

Output Characteristics

Audio/Midiinterface 1 USB Type B

Mic Input Characteristics

Preamp design MIDAS PRO

THD + noise, unity gain, 0.005%, unweighted 0 dBu, 1 kHz

Phantom power, 48 V switchable per input

EIN noise, at +60 dB gain, -125 dBu, 22 Hz - 22 kHz unweighted 150R source

CMRR, XLR, 1 kHz @ unity gain Typically 65 dB

CMRR, XLR, 1 kHz @ +60 dB gain Typically 90 dB

Output impedance, XLR 50 Ω

Maximum output level, XLR +21 dBu

Phones output impedance 50 Ω

Maximum phones output level +21 dBu

Noise @ unity gain, 1 input -87 dBu, 22 Hz - 22 kHz unweighted assigned, XLR and TRS

Noise when muted, XLR and TRS -90 dBu, 22 Hz - 22 kHz unweighted

33 M AIR User Manual

9.2 MR12

USB Audio/MIDI Interface

Type USB 2.0, type B

Supported operating systems Windows 7 or higher**,

Mac OS X 10.6.8 or higher, iOS 7 or higher (iPad), Linux

Supported sample rates 44.1 / 48 kHz

I/O audio channels 18 x 18

I/O MIDI channels 16 x 16 (1 port)

WLAN Modu le

Antenna External, SMA connector, 50 Ω

Access Point, number of clients Max. 4

IEEE 802.11 b/g standard 2.4 GHz

Frequency Range 2412-2462 MHz

WLAN channels (Wi Client, 1-11 Access Point)

Max Output Power 19 dBm (802.11 b) / 18 dBm (802.11 g)

Power

Processing

Number of processing channels 16 input channels, 1 stereo USB return

channel, 4 stereo FX return channels, 6 aux buses, main LR

Internal eects engines 4 true stereo

Signal processing 40-bit oating point

A/D-D/A conversion 24-bit @ 44.1 / 48 kHz,

115 dB dynamic range

Analog I/O latency* 0.8 ms

Connectors

Programmable mic preamps, 4 XLR/TRS combo jacks, balanced designed by MIDAS PRO

Line inputs 8 TRS, balanced

Main outputs 2 XLR, balanced

Aux outputs 2 TRS, balanced

Phones outputs 1 TRS

MIDI inputs / outputs 1/1 DIN

Ethernet 1 RJ45

Switch-mode power supply Autorange 100-240 V, (50/60 Hz)

Power consumption 30 W

Physical

Standard operating 5°C – 40°C (41°F – 104°F) temperature range

Dimensions 333 (W) x 149 (D) x 140 (H) mm,

(13.1 x 5.9 x 5.8")

Weight 3.9 kg (8.6 lbs)

* including all c hannel and bus proces sing, excluding inse rt effec ts

** Window s ASIO driver available a s download from mid asconsoles.com; com patible to CoreAudio on

Mac OS X and iOS

***Mac OS X is a t rademark of Apple, In c.

USB port Type A

Mic Input Characteristics

Preamp design MIDAS PRO

THD + noise, unity gain, 0.005%, unweighted 0 dBu, 1 kHz

Phantom power, switchable 48 V per input

EIN noise, at +60 dB gain, -125 dBu, 22 Hz - 22 kHz unweighted 150R source

CMRR, XLR, 1 kHz @ unity gain Typically 65 dB

CMRR, XLR, 1 kHz @ +60 dB gain Typically 90 dB

34 M AIR User Manual

Input/Output Characteristics

Frequency range, @ 48 kHz 20 Hz - 20 kHz sample rate, +/- 0.5 dB dB

Dynamic range, analog in to 108 db, 22 Hz - 22 kHz unweighted analog out

A/D dynamic range, preamp 110 db, 22 Hz - 22 kHz unweighted to converter

D/A dynamic range, converter 111 db, 22 Hz - 22 kHz unweighted and output

Cross talk rejection @ 1 kHz, 90 dB adjacent channels

Mic/Line 1-4 input impedance 10 kΩ XLR jack, unbal. / bal.

Non clip maximum +23.5 dBu input level, XLR

Hi-Z input impedance 1 MΩ / 2 MΩ TRS jack, unbal. / bal.

Line input 5-10 impedance 20 kΩ / 40 kΩ TRS jack, unbal. / bal.

Non clip maximum +21 dBu input level, TRS

Output Characteristics

WLAN Modu le

Antenna External, SMA connector, 50 Ω

Access Point, number of clients Max. 4

IEEE 802.11 b/g standard 2.4 GHz

Frequency Range 2412-2462 MHz

WLAN channels (Wi Client, 1-11 Access Point)

Max Output Power 19 dBm (802.11 b) / 18 dBm (802.11 g)

Power

Switch-mode power supply Autorange 100-240 V, (50/60 Hz)

Power consumption 30 W

Physical

Standard operating 5°C – 40°C (41°F – 104°F) temperature range

Dimensions 333 (W) x 149 (D) x 95 (H) mm,

(13.1 x 5.9 x 3.7")

Weight 2.9 kg (6.4 lbs)

* including all c hannel and bus proces sing, excluding inse rt effec ts

Output impedance, XLR 50 Ω

Maximum output level, XLR +21 dBu

Aux 1-2 output impedance, TRS 50 Ω

Aux 1-2 maximum

output level, TRS +21 dBu

Phones output impedance 50 Ω

Maximum phones output level +21 dBu

Noise @ unity gain, -87 dBu, 22 Hz - 22 kHz unweighted 1 input assigned, XLR and TRS

Noise when muted, XLR and TRS -90 dBu, 22 Hz - 22 kHz unweighted

35 M AIR User Manual

10. Eect Descriptions

Here is a list and brief description of the eects available on the M AIR mixers. When Stereo and Dual versions of an eect are oered, use the Stereo version when the left and right signal are to be altered together (e.g. on linked stereo channels or buses), or Dual when you want to dial dierent settings for the lef t and right signal.

Hall, Ambience, Rich Plate, Room, Chamber Reverb

These 5 reverb emulations are inspired by the Lexicon 480L. Hall simulates the reverberation that occurs when sound is recorded in medium to large-sized concert halls. Ambience creates a customizable virtual acoustic space to add warmth and depth without coloring the direct sound.

The PRE DELAY slider controls the amount of time before the reverb is heard following the source signal. DECAY controls the amount of time it takes for the reverb to dissipate. SIZE controls the perceived size of the space being created by the reverb. The DAMP slider adjusts the decay of the high frequencies within the reverb tail. DIFF(usion) controls the initial reection density, and LEVEL controls the eect output.

Vintage Reverb

Based on the legendar y EMT250, the Vintage Reverb delivers shimmering bright reverb that won’t drown out or overpower your live or recorded tracks. UseVintage Reverb to sweeten vocals and snare drums without sacricing clarity.

When layer 1 is selected, the rst slider on the left sets the reverb time from 4milliseconds to 4.5 seconds. Slider 2 controls the low frequency multiplier decay time. Slider 3 controls the high frequency multiplier decay time. Slider 4 controls the amount of modulation in the reverb tail. When layer two is selected, slider 1 adjusts the pre delay. Slider 2 selects the low cut frequency. Slider 3 selects the Hi Cut frequency. Slider 4 adjusts the output level of the reverb.

When Layer 1 is selected, the far left encoder push button allows you to select between virtual front and rear outputs. Rear is suitable for drums due to it being less reective. Front is well-suited for vocals and other dynamic instruments. TheVintage button enables the simulation of the input transformers.

Vintage Room

LO and HI CUT allow the frequencies aected by the reverb to be narrowed. BASSMULT(iplier) controls the low frequency build-up. SPREAD emphasizes the stereo eec t of the reverb. SHAPE adjusts the contour of the reverberation envelope. MOD SPEED controls the reverb tail modulation rate and TAIL GAIN adjusts the volume of the reverb tail. The Rich Plate and Room reverbs allow the stereo ECHO DELAY and the delay FEEDBACK to be adjusted independently for each side. The Chamber reverb allows the stereo REFL(ection) DELAY and GAINtobe adjusted independently.

Plate Reverb

A plate reverb was originally created by sending a signal through a transducer to create vibrations on a plate of sheet metal which were then picked up as an audio signal. Our algorithm simulates that sound with high initial diusion and a bright colored sound. The Plate Reverb will give your tracks the sound heard on countless hit records since the late 1950s. (Inspired by the Lexicon PCM-70)

PRE DELAY controls the amount of time before the reverberation is heard following the source signal. DECAY controls the amount of time it takes for the reverb to dissipate. SIZE adjusts the size of the virtual room created by the reverb eect. The DAMP knob adjusts the decay of high frequencies within the reverb tail. DIFF(USION) controls the initial reection density. The LO CUT knob sets the frequency beneath which the source signal will not pass through the reverb. The HI CUT knob sets the frequency above which the source signal will not pass through the reverb. The BASS MULT(IPLIER) knob adjusts the decay time of the bass frequencies. XOVER controls the crossover point for bass. MOD DEPTH and SPEED control the intensity and speed of the reverb tail modulation.

Vintage Room simulates the reverberation that occurs when sound is recorded in a small room. When you want to add a bit of warmth and just a touch of reverb, the Vintage Room breathes life into close-miced guitar and drum tracks. (Inspired by the Quantec QRS)

The VU meter displays the input and output levels. Set the early reection times for the left and right channel with ER DELAY L and ER DELAY R. ER LEVEL sets the loudness of the early reection level. REV DELAY controls the amount of time before the reverberation is heard following the source signal. HI/LOW MULTIPLY adjusts the decay time of the high and bass frequencies. TIME shows the duration of the reverb eect. ROOM SIZE adjusts the size of the room eect being created incrementally from small to large. HIGH CUT sets the frequenc y above which the source signal does not pass through the reverb. DENSITY manipulates the reection density in the simulated room. (This slightly changes the reverb decay time). LOW CUT sets the frequency below which the source signal does not pass through the reverb.

36 M AIR User Manual

Gated Reverb

This eect was originally achieved by combining a reverb with a noise gate. Ourgated reverb creates the same impression by a special shaping of the reverbtail.

Gated Reverb is especially eective for creating a 1980s-style snare sound or to enlarge the presence of a kick drum. (Inspired by the Lexicon 300/480L)

PRE DELAY controls the amount of time before the reverberation is heard following the source signal. DECAY controls the amount of time it takes for the reverb to dissipate. ATTACK controls how fast the reection density builds up. DENSITY shapes the reverb decay tail. The higher the density, the greater the number of sound reections. SPREAD controls how the reection is distributed through the envelope of the reverb. The LO CUT knob sets the frequency beneath which the source signal will not pass through the reverb. The HiSvFr/ HiSvGn knobs adjust a Hi-Shelving lter at the input of the reverb eect. DIFF(USION) controls the initial reection density.

Reverse Reverb

Reverse Reverb takes the trail of a reverb, turns it around, and places it in front of the sound source. Use the swelling crescendo of the Reverse Reverb to add an ethereal quality to vocal and snare tracks. (Inspired by the Lexicon 300/480L)

Adjusting the PRE DELAY knob adds up to 200 milliseconds of time before the reverb follows the source signal. The DECAY knob adjusts the time it takes for the reverb to completely dissipate. RISE controls how quickly the eect builds up. DIFF(USION) controls the initial reection density. SPREAD controls how the reection is distributed through the envelope of the reverb. The LO CUT knob sets a low frequency beneath which the source signal will not pass through the reverb. The HiSvFr/HiSvGn knobs adjust a Hi-Shelving lter at the input of the reverb eect.

The MIX control lets you blend the source signal and the delayed signal. TIMEadjusts the master delay time up to three seconds. LO CUT adjusts the low frequency cut, allowing lower frequencies to remain unaected by the delay. HI CUT adjusts the high frequency cut, allowing higher frequencies to remain unaected by the delay. FACTOR L sets the delay on the lef t channel to rhythmic fractions of the master delay time. FACTOR R sets the delay on the right channel to rhythmic frac tions of the master delay time. OFFSET LR adds a delay dierence between the lef t and right delayed signals. The FEED LO CUT/HI CUT adjusts lters in the feedback paths. FEED L and FEED R control the amount of feedback for the left and right channels. MODE sets the feedback mode: Mode ST sets normal feedback for both channels, X crosses feedbacks between left and right channels. M creates a mono mix within the feedback chain.

3-Tap Delay

Sometimes called a 3-Tap Delay, the Triple Delay provides three delay stages with independent frequency, gain, and pan controls. Create time-based echo eects with the Triple Delay to increase the sense of stereo separation.

TIME BASE sets the master delay time, which is also the delay time for the rst stage. GAIN BASE sets the gain level of the rst stage of the delay. PAN BASE sets the position of the rst delay stage in the stereo eld. LO CUT sets the frequency at which the source signal can begin passing through the delay. HICUT sets the frequency at which the source signal no longer passes through the delay. X-FEEDindicates that stereo cross-feedback of the delays is active. MONOactivates a mono mix of both channels for the delay input. FEED adjusts the amount of feedback. FACTOR A controls the amount of delay time in the second stage of the delay. GAIN A controls the gain level of the second delay stage. PAN A sets the position of the second delay stage in the stereo eld. FACTOR B controls the amount of delay time in the third stage of the delay. GAINB controls the gain level of the third delay stage. PAN B sets the position of the third gain stage in the stereo eld.

Rhythm Delay

Stereo Delay

Stereo Delay provides independent control of left and right delay (echo) times and features high and low pass lters for enhanced tone shaping of the delayed signals. Use the Stereo Delay to give your mono signals a wide presence in the stereo eld.

The Rhythm Delay provides 4 stages of delay with independently adjustable gain and rate, allowing unique syncopation to be created in the layered repeats.

TIME BASE sets the master delay time, which is also the delay time for the rst stage. GAIN BASE sets the gain for the rst stage. SPREAD positions the rst delay stage in the stereo eld. A global FEEDBACK, LO and HI CUT adjustment are also available. FACTOR A, B and C adjust the delay rate relative to the global TIME BASE setting for the 2nd, 3rd and 4th stages respectively. Each stage also has its own GAIN adjustment. MONO activates a mono mix of both channels for the delay input. X-FEED indicates that stereo cross-feedback of the delays is active.

37 M AIR User Manual

Stereo Chorus

Chorus samples the input, slightly detunes it and mixes it with the original signal to produce a somewhat thicker, shimmering sound. Use it to thicken up background vocals, or to double the sound of brass and woodwind instruments.

Where as DELAY L/R set the total amount of delay for the left and right channel, WIDTH determines the amount of modulated delay. SPEED sets the modulation speed. MIX adjusts the balance of the dry and wet signals. You can fur ther sculpt the sound by trimming some of the low and high end from the eected signal with the LO and HI CUT knobs. Additionally, the PHASE knob can tweak the phase oset of the LFO between left and right channel and the SPREAD knob adjusts how much of the left channel is mixed into the right and vice versa. Finally,theWAVE knob blends between the “Danish-style” digital triangular chorus sound and the classic analog sine wave.

Stereo Flanger

Dimensional Chorus

The Dimensional Chorus oers the most user-friendly and classic sounds, bestdescribed as “space” and “dimensional”. The 4 MODE buttons can be engaged individually or simultaneously for light chorus or very thick, exaggerated modulation.

Mood Filter

The Mood Filter uses an LFO generator and an auto-envelope generator to control a VCF (voltage-controlled lter), as well as a side chain function where the channel B signal controls the envelope of channel A. When applied to electronic instruments, the Mood Filter can be used to emulate the natural sound of acoustic instruments. (Inspired by the MiniMoog)

The Flanger emulates the phase-shifting sound (comb-ltering) originally created by applying pressure against the ange of the reel on a tape recorder. This eect creates a unique “wobbly” sound that is quite dramatic when used on vocals and instruments.

The controls of this eect are nearly identical to the Chorus eect block. Additionally, the FEEDBACK can be adjusted with positive and negative amounts and also band-limited with the FEED HC (high-cut) and FEED LC (low-cut) knobs.

Stereo Phaser

A Stereo Phaser, or phase shifter, applies multiple STAGES of modulated lters to the input signal to create a “notch” in the frequency response, and then applies a MIX with the original for a “swirling” eect. Use the Stereo Phaser to add a “spaced-out” sound to vocal or instrument tracks.

SPEED adjusts the LFO rate and DEPTH sets the LFO modulation depth. The BASE knob adjusts the frequency range of the modulated lters. The resonance is adjusted with the RESO knob. The WAVE knob shapes the symmetry of the LFO waveform and PHASE dials in an LFO phase dierence between the left and right channel. The modulation source can also be the signal envelope, which produces vowel-like opening and closing tones. The ENV MOD knob adjusts how much this eect takes place (positive and negative modulation is possible), and the ATTACK, HOLD and RELEASE knobs all tailor the response of this feature.

This lter can be modulated with the signal’s envelope using the ENV MOD (withpositive and negative amounts), ATTACK and RELEASE knobs, or the LFOcan modulate the lter. The WAVE knob selects between 7 dierent wave forms–triangular, sine, saw plus, saw minus, ramp, square, and random. ThePHASE can be o set by up to 180 degrees. The SPEED knob adjusts the rate of the LFOand the DEPTH adjusts the amount of LFO modulation. Adjustthe resonance of the lter until self-oscillation with the RESO(nance) knob. BASEadjusts the range of the lter from 20 Hz to 15 kHz. The MODE switch selects between low pass (LP), high-pass (HP), band-pass (BP) and Notch. Use the MIXknob to blend the eected signal with the dry sound. With the 4 POLE switch engaged, there will be a steeper slope than the OFF (2 pole) setting. The DRIVE knob adjusts the level and can also introduce an overdrive eect (as with real analogue lters) if pushed hard. In Sidechain mode, only the left input signal is processed and fed to both outputs. The envelope of the right input signal can be used as a modulation source.

Rotary Speaker

Rotary Speaker emulates the sound of a Leslie rotating speaker. The Rotary Speaker provides more exibility than its electro-mechanical counterpart, andcan be used with a variety of instruments, and even vocals, to create a whirling, psychedelic eect.

The LO SPEED and HI SPEED knobs adjust the rotational speed of the SLOWand FAST Speed selection, and can be toggled with the FAST button. TheACCEL(eration) knob adjusts how quickly the speed increases and decreases from the Slow mode to the Fast mode. The rotation eect can also be disengaged with the STOP button, which will stop the movement of the speakers. DISTANCEadjusts the distance between the Rotary speakers and the virtualmicrophone.

38 M AIR User Manual

Stereo Tremolo

Stereo Tremolo creates an up and down volume change at a constant and even tempo just like the guitar amps of yesteryear. Use the Stereo Tremolo to add a unique “surf-music” texture to a vocal or instrument track.

SPEED adjusts the LFO rate and DEPTH sets the amount of modulation. PHASEcanbe used to set an LFO phase dierence between the left and right channel, which can be used for panning eects. The WAVE knob blends the LFOwaveform between triangular and square shape. The signal envelope, shaped by ATTACK, HOLD and RELEASE, can be used to modulate the LFO speed (ENV SPEED) and the LFO modulation depth (ENV DEPTH).

Sub Octaver

Chorus + Chamber

Taking up only one FX slot, the Chorus + Chamber eect combines the shimmer and doubling characteristics of a studio-grade Chorus with the sweet sound of a traditional Chamber reverb. (Reverb is Inspired by the Lexicon PCM 70)

The BALANCE knob adjusts the balance between chorus and reverb. Lowfrequencies can be excluded with the LO CUT knob, and the MIX knob adjusts how much of the eect is added to the signal. SPEED, DELAY and DEPTH adjust the rate, delay, and modulation depth of the chorus. The LFO PHASE between left and right channel can be oset by up to 180 degrees, and WAVE adjusts the LFO waveform from a sine wave to triangular wave. The PREDELAY knob determines the hesitation before the reverb aects the signal. The DECAY knob adjusts how quickly the reverb fades. The SIZE controls how large or small the simulated space is (room, cathedral, etc.). The DAMPING knob determines the decay of high frequencies within the reverb tail.

Flanger + Chamber

The Sub Octaver provides two channels of sub harmonics generation, one or even two octaves below the input signal.

Adjust the DIRECT knob to blend the “dry” signal with the lower oc taves. UsetheRANGE switch to optimize the tracking by selecting the frequency rangeof the input signal. The OCT1 and OCT2 knobs adjust how much 1octavedown and 2octaves down content is included.

Delay + Chamber

Here we have combined Delay and Chamber reverb, so a single device can provide a variety of delay settings, plus add just the right type and amount of reverb to the selected signal. This device only uses one FX slot. (The Reverb is Inspired by the Lexicon PCM 70)

Use the BALANCE knob to adjust the ratio between delay and reverb. Lowfrequencies can be excluded with the LO CUT knob, and the MIX adjusts how much of the eect is added to the signal. The TIME knob adjusts the delay time for the left channel delay, and the PATTERN sets the delay ratio for the right channel delay. Adjust the FEEDBACK and trim some high frequencies with the FEED HC (high-cut) knob. The XFEED knob allows you to send the delay sound to the reverb eect, so instead of running completely parallel, the reverb aects the echos to a selected degree. The PREDELAY knob determines the hesitation before the reverb aects the signal. The DECAY knob adjusts how quickly the reverb fades. The SIZE controls how large or small the simulated space is (room,cathedral, etc.). The DAMPING knob determines the decay of high frequencies within the reverb tail.

Add the mind-bending, lter-sweeping eect of a state-of-the-art Flanger to the elegant sweetening of a traditional Chamber reverb — all in one FX slot. (Reverbis Inspired by the Lexicon PCM 70)

The BALANCE knob adjusts the ratio between anger and reverb. Low frequencies can be excluded with the LO CUT knob, and the MIX knob adjusts how much of the eect is added to the signal. SPEED, DELAY and DEPTH adjust the rate, delay,and modulation depth of the anger. FEEDback can be adjusted with positive and negative amounts. The PHASE can be o set by up to 180 degrees. The PREDELAY knob determines the hesitation before the reverb aects the signal. The DECAY knob adjusts how quickly the reverb fades. The SIZE controls how large or small the simulated space is (room, cathedral, etc.). The DAMPING knob determines the decay of high frequencies within the reverb tail.

Delay + Chorus

This combination eect merges a user-denable Delay (echo) with a studio quality Chorus sure to fatten up even the “skinniest ” track. Uses only one FX slot. (Inspired by the TC Electronic D-Two)

39 M AIR User Manual

The TIME knob adjusts the delay time, and the PATTERN knob sets the delay ratio for the right channel and negative values activate a cross feedback between the two channels. The FEEDHC knob adjusts the delay high-cut frequency, while the FEEDBACK knob adjusts the number of repeats. The X-FEED knob allows you to send the delay sound to the chorus eect. The BALANCE knob adjusts the ratio between delay and chorus. SPEED, DELAY and DEPTH adjust the rate, delay, andmodulation depth of the chorus. The right channel LFO PHASE can be oset by up to 180 degrees, and WAVE adjusts the chorus character by shaping the LFOwaveform from sine wave to triangular wave. Use the MIX knob to blend theeected signal with the “dry” sound.

Delay + Flanger

This handy dynamic duo blends the “woosh” of soaring jet planes with classic Delay, and can be adjusted from mild to wild. This combination eect only takes up one FX slot. (Inspired by the TC Electronic D-Two)

The TIME knob adjusts the delay time, and the PATTERN knob sets the delay ratio for the right channel and negative values activate a cross feedback between the two channels. The FEEDHC knob adjusts the delay high-cut frequency, while the FEEDBACK knob adjusts the number of repeats. The X-FEED knob allows you to send the delay sound to the anger eect. The BALANCE knob adjusts the ratio between delay and anger. SPEED, DELAY and DEPTH adjust the rate, delay, andmodulation depth of the anger. The right channel LFO PHASE canbe osetby up to 180 degrees, and FEED (positive and negative amounts) adjuststhe feedback eect. Use the MIX knob to blend the eected signal withthe “dry”sound.

Graphic and Tru EQ

The dual and stereo EQs are standard graphic equalizers that provide 31 bands of adjustment between 20 Hz and 20 kHz. A master volume slider compensates for changes in volume caused by the equalization. A maximum boost or cut of 15 dB is available for each band.

The TruEQ incorporates a special algorithm that compensates for the gain adjustment overlapping eect that adjacent frequency bands have on one another. On a standard EQ, when neighboring bands are boosted together, theresulting eect is magnied beyond what is visible from the positioning ofthe sliders.

Modulation Delay

Modulation Delay combines three of the most used time modulation eects into one easy-to-operate unit, featuring true-stereo delay with a lush chorus, toppedo with three reverb models to choose from.

The BALANCE knob adjusts ratio of delay to reverb. The processor chain can operate as serial where one eect ows into the next, or parallel where each eect is applied to the source signal independently. TIME, FEED(back), LOWand HI CUT all aect the delay. Modulation DEPTH and RATE are adjustable. Threetypes of reverb are available – ambience, club and hall – with adjustable DECAY and HI DAMP.

This compensated EQ will produce an adjustment that is identical to the actual positioning of the sliders.

DeEsser

The DeEsser eect allows the sibilance to be controlled for singers that have a pronounced “S” sound. Separate knobs allow the low and high bands to be adjusted, and the eect can be optimized for male and female voices.

40 M AIR User Manual

Xtec EQ1

Inspired by the Pultec EQP-1a, this passive equalizer is a very powerful tool for sound enhancement.

GAIN allows compensation for level changes resulting from frequency adjustments. Toggle the IN switch to engage or disengage the eec t. Select the low frequency with the LO FREQ knob, adjust the amount of enhancement with the LO BOOST, then adjust the attack with the LO ATT. The same adjustments are available for the high frequencies.

Xtec EQ5

This Pultec emulation is a classic analog passive equalizer that oers very warmand musical frequency sculpting. Simply select the center frequency for the 3bands, then adjust how much low and high you want to boost and how much midrange you want to cut.

AUTOGAIN activates an additional long-term gain correction, allowing automatic gain scaling of varying input level ranges. STEREO LINK applies limiting to both channels equally when activated. INPUT GAIN provides up to 18 dB of gain to the input signal prior to limiting. OUTPUT GAIN sets the nal gain level of the processed signal. SQUEEZE adds compression to the signal to add punch and a slight distortion depending on the amount you dial in. ATTACK sets the attack time, ranging from 0.05 mS to 1 mS. RELEASE adjusts the release time from

0.05mS to 1.04 seconds. KNEE adjusts the sof t limiting threshold point from

hardlimiting (0 dB) to maximum soft limiting (10 dB).

Combinator

The Combinator emulates famous broadcasting and mastering compressors, utilizing automatic parameter control that produces very eective yet “inaudible”results.

The MIX knob allows some of the source signal to pass through unaec ted. ATTACK and RELEASE have dedicated controls, and an Auto Release function can be engaged. Global X-OVER, RATIO, THRESH(old) and GAIN controls are available. Engage the Spectral Balance Control (SBC) to allow automatic gain balancing between the audio bands and its SPEED control to determine how aggressively the eect works. The meters can also display band reduction or the SBC gain balance, and can display peak outputs. The THRESH(old) and GAIN can be adjusted for each band independently.

Wave Designer

Wave Designer is a powerful tool for adjusting signal transients and dynamics, such as attack and sustain. Use it to make a snare drum really “crack” in the mix or level out volume inconsistencies of slap bass tracks. (Inspired by the SPLTransient Designer)

Adjusting the ATTACK knob can add punch or tame overly dynamic signals. Increasing the SUSTAIN knob acts in a similar way as a compressor, allowing the peaks to carry longer before decay. The eect can also be used to reduce the sustain for a more staccato sound. The GAIN knob compensates for level changes caused by the eect.

Precision Limiter

Stereo Precision Limiter allows you to set a precise volume limit, ensuringdistortion-free, optimal signal integrity. Use the Stereo Precision Limiter to boost quiet signals or preventing clipping while preserving the level of“hot”signals.

Fair Compressor

This model of a Fairchild 670 delivers some of the nest colorations in compressor history. Two small trim VRs, BIAS and BALANCE, preset the control side chain action, a 6-step knob determines the timing, and the 2 large INPUT GAIN and THRESHOLD knobs adjust the levels. There are models available for dual, stereo-linked, or mid/side operation.

Leisure Compressor

This model of a popular tube-based optical compressor provides natural and eortlessly musical compression, inspired by the Teletronix LA-2A. Simply adjust the input GAIN and PEAK REDUCTION knob to dial in the amount of desired compression, then adjust the OUTPUT GAIN knob for the desired output level. The COMP setting will give a gentle compression ratio, whereas the LIMIT setting results in a higher ratio.

41 M AIR User Manual

Ultimo Compressor

The Ultimo Compressor is based on the Urei 1176LN Limiting Amplier and authentically captures the smooth character of the original class-A output stage in its FET's legendary fast attack.

Start with the INPUT and OUTPUT knobs at the -24 position for unity gain and set the ATTACK and RELEASE knobs fully counterclockwise. Select the compression ratio, then raise the ATTACK knob to lightly compress the signal. Increase the ratio for heavier compression and experiment with ATTACK, RELEASE and INPUT levels to achieve your desired result. Compensate for overall level reduction with the OUTPUT knob.

Enhancer

These Enhancers are so called “Psycho EQs”. They can enhance the signal spectrum in bass, midrange and high frequencies but they dier from traditional equalizers. When you need to generate maximum punch, clarity and detail, without turning up the overall volume, our enhancers are the solution. (Inspiredby the SPL Vitalizer)

Stereo Imager

A Stereo Imager is typically used to control the placement of a signal within the stereo eld during mixdown or mastering. Modeled af ter the BEHRINGER Edison rack unit, the Stereo Imager will lend a professional quality to your live and recording performances.

The BALANCE knob allows you to emphasize the mono or stereo components of the input signal. The mono and stereo signals can be panned independently with the MONO PAN and STEREO PAN knobs. OUT GAIN is used to compensate for level changes resulting from the eect. The phase can also be shifted using the shelving knobs. Select the frequenc y and bandwidth (Q) using the corresponding knobs, then adjust the gain with the SHV GAIN knob.

Edison EX1

The EDISON EX1+ is a remarkably eective tool that allows manipulation of the stereo eld. The eect oers stereo and mid/side input and output and a phase correlation meter. Exaggerate the stereo eld with the ST SPREAD knob and adjust the ratio of mono to stereo content with the BALANCE knob. The CENTER DIST knob allows the mono content to be panned. Compensate for level changes with the OUTPUT GAIN knob.

Adjust the BASS, MID and HI GAIN knobs to add or reduce content in those spectrums. The BASS and HI Frequencies can be specically selected, while the MID Q (bandwidth) can be adjusted instead. The OUT GAIN knob compensates for changes in level resulting from the eect, and the SPREAD knob (Stereo version only) emphasizes the stereo content for a wider mix. Engage the SOLO MODE to isolate only the audio resulting from the eect so you can hear exactly what you’re adding to the mix.

Exciter

Exciters increase presence and intelligibility in live sound applications, and are indispensable for adding clarity, air and harmonic overtones in the recording studio. This eect is particularly useful for lling out the sound in dicult rooms and for producing a more natural live/recorded sound. (Inspired by the famous Aphex Aural Exciter)

Set the frequency of the side-chain lter with the TUNE knob, and further shape the lter slope with the PEAK and ZERO FILL knobs. Turning the TIMBRE knob left of center adds more odd harmonics, while turning it right of center adds more even harmonics. Adjust the harmonic content added to the signal with the HARMONICS knob, and blend in the eected signal with the MIX knob. Engagethe SOLO MODE to isolate only the audio resulting from the eect so youcan hear exactly what you’re adding to the mix.

Sound Maxer

Inspired by the Sonic Maximizer 482i, this eect restores natural brilliance and clarity to any audio signal by adjusting the phase and amplitude integrity to reveal more of the natural texture of the sound. LO CONTOUR adjusts the level of phase-corrected low frequencies and PROCESS adjusts the level of phase-corrected high frequencies. GAIN compensates for level changes caused bytheeect.

Guitar Amp

Modeled after the Tech 21 SansAmp, the Stereo / Dual Guitar Amp simulates the sound of plugging into a real guitar amp. From shimmering cleans to saturated crunch, the Stereo / Dual Guitar Amp allows an electric guitar player to sound great without using an amp on stage.

42 M AIR User Manual

The PREAMP knob adjusts the amount of input gain prior to the band-specic distortion adjustment. BUZZ adjusts the low-end breakup, PUNCH adjusts the midrange distortion, and CRUNCH tailors the high-frequency content and distortion for smooth or cutting notes. The DRIVE knob simulates the amount of power amp distortion from a tube amp. The LOW and HIGH knobs allow EQ adjustment independent of distortion content, and the overall output is controlled by the LEVEL knob. The CABINET simulation can be bypassed if the guitarist is already using a real cab, which allows the eect to function like a boost or distor tion pedal. The Dual Guitar Amp allows the left and right channels to be adjusted independently.

Tube Sta ge

Tube Stage/Overdrive is a versatile eect capable of emulating a variety of modern and classic tube preamps. Available in stereo and dual-mono versions, use Tube Stage/Overdrive to dial in warm and fuzzy sounds from subtle to fullysaturated.

DRIVE adjusts the amount of harmonics being driven by the eect. EVEN and ODD adjust the amount of even and odd harmonics. GAIN adjusts the output gain of the eect. LO CUT sets the input frequency below which the source signal will not pass through the eect. HI CUT sets the input frequency above which the input signal will not pass through the eect. BASS GAIN/FREQ adjust a low shelving lter at the output of the eect. TREBLE GAIN/FREQ adjust a high shelving lter at the output of the eect.

11. Instructional Videos

A Youtube playlist with over 40 tutorial videos can be found by searching for “X AIR How To Videos” on youtube.com. These provide a great source of supplementary information to this manual, and cover every thing from basic setup, wireless connection scenarios and channel conguration to advanced FX routing and global settings.

Stereo / Dual Pitch

Pitch shifting is often used in two dierent ways. One is to set the Mix knob lower and only use the Cent knob to make a small o set in pitch between the wet and dry tones. This results in a “voice doubling” eect that thickens the overall sound in a more subtle way. The extreme use of the eect is to turn the Mix knob fully clockwise so the entire signal is eected. This way, the signal can be shifted into other keys up to an octave above or below the original. When used on a voice, this results in a “chipmunk” sound or a low Darth Vader eect.

When the SEMI and CENT knobs are set at 12:00, the pitch is not altered. Makingadjustments by semitone will have a very pronounced eect, whereaschanges to the CENT knob will be very minor. The DELAY knob creates a time dierence between the wet and dry sound. The LO and HI CUT knobs allow the eected signal to be band-limited. The Dual Pitch eect allows the leftandright channels to be adjusted independently, and allows GAIN compensation andpanning of the two channels.

43 M AIR User Manual

12. Block Diagrams

12.1 MR18 Block Diagram

SOLOAUX BUS

L R L R

MAIN

1 2 3 4

FX SEND

1 2 5 6

OUT

MIX 1-16

FADER

MUTE

PEQ

GEQ

6BAND

31 BAND

alternate use

INSERT

COMP/

EXPAN

AUX BUS 1–6

Main On

Post Fader

Pre Fader

Pre EQPre INSInput

KEY-IN

mute

Group On

PAN (LR)

stereo

Post Fader

SOLO

OUT

MAIN LR

FADERBALANCE

MUTE

PEQ

GEQ

6BAND

31 BAND

alternate use

INSERT

COMP/

EXPAN

MAIN STEREO

Main On

Post Fader

Pre Fader

Pre EQPre INSInput

mute

Group On

KEY-IN

SOLO

Post Fader

MONITOR LR OUT

MONO

Level

MID

MONITOR SOURCE IN

MONITORING/PHONES

stereo

Main On

mute

Group On

SOLO / SOURCE

FX OUT L

FX OUT R

INSERT Return L

EFFECT

INSERT R

INSERT L

FX IN 1-4

SEND

EFFECTS 1-4

INSERT Return R

MASTER

SOLO

OUT

MAIN LR

(mono)

FX1-4 SEND

AUX BUS 1-6

DSP

PATCH

FADER

INPUT METER

CH 1–16

PAN (LR)

MUTE

COMP/

EXPAN

4-BAND

INSERT

DUCK

GATE/

CUT

LOW

Trim

4 x 2

4 x 1

FX 1-4 IN (mono)

FX 1-4 OUT (L / R)

FX 1...4

EFFECT SEND

Post Fader Post Pan

Level

MUTE

Pre Fader

Pre EQ/Pre Fader/Post Fader

Pre EQInput Post EQ

(USB Return)

INSERT RETURN

INSERT SEND

MIX 1-6 INSERT SEND

MIX 1-6 INSERT RETURN

Mix 1,3...5

Mix 2,4...6

4BAND

Trim

FX 1...4

EFFECT SEND

AUX SEND

Post Fader Post Pan

Level

MUTE

Pre FaderInput

Pre EQ/Pre Fader/Post Fader

Pre EQ/Pre Fader/Post Fader/Post Pan L

(USB Return)

Pre EQ/Pre Fader/Post Fader/Post Pan R

Mix 1, 3, 5

Mix 2, 4, 6

AUX SEND

SOLO

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan L

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan R

PRE LOW CUT OUT

POST FADER OUT

PAN (LR)

FADER

MUTE

INPUT METER

Stereo LINE IN LR

MIX 1-6 OUT

MAIN LR OUT

MAIN LR PRE EQ OUT

MONITOR LR OUT

MONITOR SOURCE IN

MAIN LR INSERT RETURN

PATCH CUE

MAIN LR INSERT SEND

PAN (LR)

FADER

SOLO

Pre EQ/Pre Fader/Post Fader/Post Pan L

Pre EQ/Pre Fader/Post Fader/Post Pan R

MUTE

INPUT METER

STEREO FX RETURNS 1 L/R – 4 L/R

4BAND

Mix 1, 3, 5

Mix 2, 4, 6

AUX SEND

Post Fader Post Pan

Level

SOLO

MUTE

Pre Fader

Pre Fader/Post Fader/Post Pan L

Pre Fader/Post Fader/Post Pan R

Stereo PHONES OUT (TRS)

(LR)

AUX OUT 1-6

P16 ULTRANET (16ch)

LEVEL

D/A

2 2

D/A

(18ch IN)

USB typB

(18ch OUT)

RTA METER

Stereo MAIN OUT XLR

L R

Input

Trim

4 x 2

HA GAIN

(-12...+60 dB, 0.5 dB/step, max+23 dBu)

ANALOG INPUT CONNECTIVITY

PHANTOM

+48V

A/D

INPUT

(1-16)

D/A

A/D

Stereo

LINE IN

44 M AIR User Manual

Trim

(USB Return)

12.2 MR12 Block Diagram

SOLOAUX BUS

L R L R

MAIN

1 2 3 4

FX SEND

1*2*

OUT

MIX 1-4

FADER

MUTE

PEQ

GEQ

6BAND

31 BAND

alternate use

INSERT

COMP/

EXPAN

AUX BUS 1-2*

Main On

Post Fader

Pre Fader

Pre EQPre INSInput

KEY-IN

mute

stereo

mute

Group On

Post Fader

PAN (LR)

Post Fader

SOLO

OUT

MAIN LR

FADERBALANCE

MUTE

PEQ

GEQ

6BAND

31 BAND

alternate use

INSERT

COMP/

EXPAN

MAIN STEREO

Main On

Post Fader

Pre Fader

Pre EQPre INSInput

mute

Group On

KEY-IN

SOLO

Post Fader

MONITOR LR OUT

MONO

Level

MONITOR SOURCE IN

MONITORING/PHONES

stereo

Main On

mute

Group On

SOLO / SOURCE

FX OUT L

FX OUT R

INSERT Return L

EFFECT

INSERT R

INSERT L

EFFECTS 1-4

FX IN 1-4

INSERT Return R

SEND

MASTER

SOLO

OUT

MAIN LR

(mono)

FX1-4 SEND

AUX BUS 1-2*

DSP

PATCH

FADER

INPUT METER

CH 1–16

PAN (LR)

MUTE

COMP/

EXPAN

4-BAND

INSERT

DUCK

GATE/

CUT

LOW

4 x 2

4 x 1

FX 1-4 IN (mono)

FX 1-4 OUT (L / R)

FX 1...4

Mix 1, 3

AUX SEND

EFFECT SEND

Post Fader Post Pan

Level

MUTE

Pre Fader

Pre EQ/Pre Fader/Post Fader

Pre EQInput Post EQ

INSERT RETURN

INSERT SEND

4/2*

MIX 1-4* INSERT SEND

MIX 1-4* INSERT RETURN

Mix 1,3

Mix 2,4

MUTE

4BAND

Post Fader Post Pan

Pre FaderInput

Trim

(USB Return)

FX 1...4

EFFECT SEND

AUX SEND

Level

SOLO

MUTE

Pre EQ/Pre Fader/Post Fader

Pre EQ/Pre Fader/Post Fader/Post Pan L

Pre EQ/Pre Fader/Post Fader/Post Pan R

Mix 2, 4

PAN (LR)

FADER

SOLO

INPUT METER

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan L

Pre HP/Pre Gate/Post Gate/Pre EQ/Post EQ/Pre Fader/Post Fader/Post Pan R

PRE LOW CUT OUT

POST FADER OUT

Stereo USB Return

4 / 2*

MIX 1-4* OUT

MAIN LR OUT

MAIN LR PRE EQ OUT

MONITOR LR OUT

MONITOR SOURCE IN

PATCH CUE

MAIN LR INSERT SEND

MAIN LR INSERT RETURN

PAN (LR)

FADER

MUTE

4BAND

Pre EQ/Pre Fader/Post Fader/Post Pan L

Pre EQ/Pre Fader/Post Fader/Post Pan R

INPUT METER

Trim

STEREO FX RETURNS 1 L/R – 4 L/R

Post Fader Post Pan

Pre Fader

Input

4 x 2

Mix 1, 3

Mix 2, 4

AUX SEND

Level

SOLO

MUTE

Pre Fader/Post Fader/Post Pan L

Pre Fader/Post Fader/Post Pan R

HA GAIN

(-12...+60 dB, 0.5 dB/step, max+23 dBu)

ANALOG INPUT CONNECTIVITY

PHANTOM

+48V

Stereo MAIN OUT XLR

L R

D/A

8 / 4*

LineTrim

A/D

LINE IN

MIC INPUT

Stereo PHONES OUT (TRS)

AUX OUT (TRS, bal.)

D/A

4/2*

(2ch IN)

USB typA

RTA METER

(2ch OUT)

USB typA

LEVEL

D/A

2 2

+4dBu / -10dBV (max +22 / +10 dBu)

1/4” TRS

45 M AIR User Manual

FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION

M AIR MR18/MR12

Responsible Party Name: MUSIC Group Services NV Inc.

Address: 5270 Procyon Street

Las Vesgas, NV89118

Phone Number: +1 702 800 8290

M AIR MR18/MR12

Contains Transmitter Module FCC ID: W7OMRF24WG0MAMB

This equipment has been tested and found to comply with the limits for a Class A digital device, pur suant to part 15 of the FCC Rules.

These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense.

Caution!

The manufacturer is not responsible for any radio or TV interference caused by unauthorized modication to this equipment. Such modications could void the user authority to operate the equipment.

FCC RF Radiation Exposure Statement:

(1) This Transmitter must not be co-located or operating in conjunc tion with any other antenna or transmitter.

(2) This equipment complies with FCC RF radiation exposure limits set forth for anuncontrolled environment.This equipment should be installed and operated with minimum distance of 20 centimeters bet ween the radiator and your body.

This transmitter must not be co-located or operating in conjunction with any other antenna or transmitter.

Caution!

The manufacturer is not responsible for any radio or TV interference caused by unauthorized modications to this equipment. Such modications could void the user authority to operate the equipment.

Warning: Operation of this equipment in a residential environment could cause radio interference.

46 M AIR User Manual

47 M AIR User Manual

midasconsoles.com

Midas MR18, MR12 User manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Important Safety Instructions

LEGAL DISCLAIMER

LIMITED WARRANTY

1. Introduction

2. Callouts

2.1 MR18 Callouts

2.2 MR12 Callouts

3. Hookup

3.1 MR18 Hookups

3.2 MR12 Hookups

4. Network Connection

4.1 IP Address and DHCP

4.2 Ethernet/LAN

4.4 Access Point

4.5 Getting Started

5. M AIR for iPad

5.1 Main Screen

5.2 Input

5.3 Sends

5.4 Gate

5.5 Dynamics

5.7 Insert

5.8 Presets

5.6 Channel EQ

5.9 Output

5.10 Meters

5.11 Shows

5.12 Snapshots

5.14 Routing

5.15 Setup

5.16 Main EQ

6. M AIR for Android

6.1 Main View

6.2 Input

6.4 Gate

6.5 EQ

6.6 Dynamics

6.7 Sends

6.8 Main

6.9 Meters and RTA

6.11 Snapshots

6.12 Scenes and Shows

6.13 Routing

6.14 Setup

7. M AIR Edit for PC

7.1 Main View and Mixer Tab

7. 2 Channel Tab

7.4 Gate Tab

7. 3 Input Tab

7. 5 EQ Tab

7.7 Sends Tab

7.6 Comp Tab

7.8 Main Tab

7.9 FX Tab

7.10 Meter Tab

7.11 Setup Menu

7.12 Snapshot Page

7.13 Utilities

7.14 Auto Mix

8. MIDI

9.1 MR18

9.2 MR12

11. Instructional Videos

12. Block Diagrams

12.1 MR18 Block Diagram

12.2 MR12 Block Diagram

FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION