Midas verona-lss-1 Service Manual

OPERATORSMANUAL

AND

SERVICEINFORMATION Iss 1

KlarkTeknikGroup,

KlarkTeknikBuilding,

WalterNashRoad,

Kidderminster.

Worcestershire.

DY117HJ.

England.

Tel:[phone]

Fax:[phone]

Email:[e-mail]

Website:www.midasconsoles.com

IMPORTANT SAFETY INSTRUCTIONS

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,

DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE

AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR

These symbols are internationally accepted symbols that warn of potential hazards with

electrical products.

The lightning flash with arrowhead symbol, within an equilateral
triangle is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product's enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert
the user to the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.

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 a dry cloth.

7. Do not block any of the ventilation openings. Install in accordance with the manufacturers
instructions.

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

9. Do not defeat the safety purpose of the polarized 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
fit 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. Only use attachments / accessories specified by the manufacturer.

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

13. Refer all servicing to qualified personnel. Servicing is required when the apparatus is 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.

Walter Nash Road, Kidderminster, Worcestershire. DY11 7HJ. England

Tel: [phone]. Fax: [phone]

Company Registration No: 2414018

abc abc

SIGNAL PROCESSING BY DEFINITION DESIGNED FOR A PURE PERFORMANCE

DECLARATION OF CONFORMITY

We, Klark Teknik Group (UK) Plc

of, Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ.

Declare that a sample of the following product:-

Product Type Number Product Description Nominal Voltage (s) Current Freq

Verona Professional Audio 115V AC 2.2A 50/60Hz
Mixing Desk 230V AC 1.1A

to which this declaration refers, is in conformity with the following directives and/or standards:-

Directive(s) Test Standard(s)

Generic Standard using EN55103 Limits and Methods
Class B Conduct Emissions EN55103
Class B Radiated Emissions EN55103
Fast Transient Bursts EN61000-4-4
Static Discharge EN61000-4-2
Electrical Safety

EN60065:2002
UL60065-03

Pending

CAN/CSA60065-03
IEC60065-2001

Pending

Pending

Signed:............................ Date: 1st January 2004

Name: Simon Harrison

Authority: Research and Development Director, Klark Teknik Group (UK) Plc

Attention!
Where applicable, the attention of the specifier, purchaser, installer or user is drawn to special limitations
of use which must be observed when these products are taken into service to maintain compliance with
the above directives. Details of these special measures and limitations to use are available on request
and are available in product manuals.

A Subsidiary of Telex Communications, Inc.

Thank You for using a Midas Verona mixing console. The Verona has been developed to meet the needs of demanding
live sound engineers and meets the quality of build and performance that you would expect from a Midas.

The Verona is an all purpose FOH, Monitor or FOH and Monitor Hybrid console that is quickly and easily configurable.
Each mono input channel offers microphone and line inputs, direct output and insert points and four band sweep
equaliser stage. In addition the Verona has a flexible buss structure allowing the engineer to mix in stereo or LCR.

The Verona, also allows the user to route to any of 20 other busses (8 Auxiliary Busses, 8 Group Busses and 4 Matrix
Busses) for even the most demanding application.

All backed up, of course, by the standard Midas Three Year Warranty.

Please take the time to complete and return the registration card and, to obtain the best results with a minimum of
effort, also read this operators manual.

Finally,

Enjoy your new Midas Verona Console!

Contents

ATTENTION: Installation and power 6

Mono Input Channels 7

Rear Panel and Gain 8
Equalisation 9
Auxiliary Outputs 10
Pan and Routing 11
Metering and Automutes 12

Multifunction Input Channels 13

Rear Panel and Gain 14
Channel Equalisation 15
Auxiliary Outputs 16
Pan and Routing 17
Metering, Automutes and Hints and Tips 18

Output Module 19

Output Module notes 20
Groups 21
Matrix 22
Meters 24
Features 26

Setting up the Verona 27

Functional Block Diagrams 33

Mono Input 34
Multifunction Input 35
Group/Matrix Module 36
Master Module 37

Dimensions and Weights 39

Specification and Features 41

Crib Sheet 45

Operators Manual - Page 5

ATTENTION

The following special limitations must be observed in order to maintain safety and electromagnetic
compatibility performance.

Power Connection

The console should only be operated with the power
supply connected to ground via the ground in the mains
connector.

Audio Connections

The console should only be operated with high quality
twisted-pair audio cables. All connector shells should be
of metal construction so that they provide a screen when
connected to the console. All jack connector shells should
be connected to the cable screen. All XLR plugs should
have pin one (1) connected to the cable screen.

INSTALLATION

Position

The position of the console will vary from venue to venue. However, when positioning the console for front of house usage it
is worth placing the console in a position where the sound system used can be heard properly from the mix position. Try to
avoid placing the console behind pillars or large objects , or mixing from a level above the speaker position (e.g. from a
balcony).

Also try to avoid placing the console near or on any power distribution units or power amplifiers.

Power

If using an external power supply, it should be located as far away from the console as the connecting cable will allow. The
power supply should be set for the voltage supply available in your area and plugged into the mains outlet using the cable
provided.

Electric Fields

If the console is operated in an electromagnetic field that is
amplitude modulated by an audio frequency signal, the signal to
noise ratio may be degraded. Degradation of up to 60dB may be
experienced under extreme conditions (3V/m, 90%
modulation).

THE POWER SUPPLY SHOULD NEVER BE OPERATED WITH

THE MAINS EARTH DISCONNECTED

Please note that the power supply contains LETHAL VOLTAGES greatly in excess of

the mains voltage and that it’s rails can produce extremely large currents which

!

could burn out equipment and wiring if shorted. All testing and servicing should

ONLY be carried out by a qualified engineer.

ConnectionsConnections

To ensure the correct and reliable operation or your Midas Verona console, only high quality screened twisted pair
audio cable and metal bodied connectors should be used.

Female XLR

1

PUSH

2

Pin 1 - Screen/Ground

3

Pin 2 - Hot Signal
Pin 3 - Cold Signal

Male XLR

2

3

1

Note: Sockets are viewed from the front face.

Quarter Inch Jack

TRS Signal TRS Insert TRS Headphone

Sleeve Screen/Ground Screen/Ground Screen/Ground
Ring Cold Signal Insert Return Right
Tip Hot Signal Insert Send Left

Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal

RCA (Tape In/Out)

Centre - Signal
Surround - Screen

The Venice’s Tape In/Out sockets are
unbalanced and operate at a nominal
signal level of -10dBu.

For increased protection against
interference use metal bodied RCA plugs.

Operators Manual - Page 6

Mono Input Channel

Operators Manual - Page 7

Mono Input ChannelsMono Input Channels

48v -15

padpower

+30 +45

mic gain

OO

mic

60

hi-pass

20

-15 +15
5k 10k

treble

2k

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq

off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

1-2

3-4

5-6

7-8

mono

stereo

c

l r

pan

groups master
pan s i s

MUTE

SOLO

10

18

12

5

-18

0

5

mute 1

10

15

mute 2

20

mute 3

30

40

mute 4

Rear Panel

mic

insert

mic

+60+15

ins

160

400

1

direct

out

line L

20k

line

in

R

PUSH

mic

2k

200

+15

Front Panel

eq
on

The actual number of mono input channels on your Verona will depend upon your choice of frame, however functionality

0

remains the same

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

48V Power - When depressed, the Verona
will apply 48 volts phantom power to the
microphone input. This is used to power
condenser microphones, direct inject boxes
and other devices that require phantom
power.

The red phantom LED will light to indicate
that 48V phantom is in operation.

Mic Ø - The mic phase switch, when

depressed, causes a 180 degree phase
change (with respect to the input signal) to
occur in the input amplifier such that the
channel signal will have opposite polarity to
the input signal.

The mic phase switch is commonly needed
where two microphones are used facing
each other (for example when using a
microphone on both the top and bottom of a
snare drum). Ordinarily the two
microphones would be out of phase causing

0

cancellation when the console sums the two
signals into the output. Reversing the phase
of one signal causes the microphones to
have the same phase and no cancellation.

Hi-Pass - The high pass switch enables
high pass filter on the microphone input.
This is commonly used to remove handling
noise, bass rumble through coupling with
the stage or mains hum.

The Verona channel inputs are located on the rear of the console.
Each mono channel provides

one insert point on a single TRS jack socket.
one direct output on a single impedance balanced quarter-inch jack socket
one line in quarter-inch TRS balanced jack socket
one mic XLR female

The insert point is unbalanced and requires a conventionally wired insert lead where:

Tip - Channel Signal Send
Ring - Channel Signal Return
Sleeve - Signal Common Ground

The direct out and insert points operate at a nominal level of 0dBu.

Balanced XLR and Jack inputs are conventionally wired:

XLR - 1. Screen - 2. Hot Signal - 3. Cold Signal
TRS - T. Hot Signal - R. Cold Signal - S. Screen

-15dB Pad - The Pad switch provides 15dB

attenuation to the input signal allowing for
the connection of high output microphones
and line level signals without overloading
the channel input amplifier. Overloads are
indicated on the in-channel meter by the
red LED at the top.

48v -15

padpower

+30 +45

Mic Gain - The mic gain is continuously
variable from +15dB to +60dB (0dB to
+45dB with the Pad enabled). The actual
value of the gain required will depend upon
the source and should ideally be set such

mic gain

+60+15

that peaks in level on the input should not

mic

OO

ins

cause the input amplifier to overload
(occasional peaks of +12dB is okay, +18dB
is too high).

Ins - The ins switch enables the channel
insert point by connecting the insert return
to the channel signal path so that
compressors, gates or other dynamic and
signal processors or effects can be used.

60

160

High Pass Frequency - The cutoff

hi-pass

20

400

frequency of the high pass filter is
continuously variable from 20Hz to 400Hz.

MIDAS

Operators Manual - Page 8

48v -15

padpower

+30 +45

mic gain

OO

mic

60

hi-pass

20

-15 +15
5k 10k

treble

2k

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq

off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

1-2

3-4

5-6

7-8

mono

stereo

c

l r

pan

groups master
pan s i s

MUTE

Mono Input ChannelsMono Input Channels

Channel Equalisation

+60+15

ins

160

400

20k

-15 +15
5k 10k

treble

Treble (Gain) - The gain of the treble equaliser is continuously variable from -15dB to +15dB with
a centre detent at 0dB.

Treble (frequency) - The centre frequency of the treble equaliser is continuously variable from
2kHz to 20kHz.

2k

Hi-Mid (Gain) - The gain of the hi-mid equaliser is continuously variable from -15dB to +15dB

200

+15

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq
off

with a centre detent at 0dB.

Hi-Mid (frequency) - The centre frequency of the hi-mid equaliser is continuously variable from
400Hz to 8kHz.

Lo-Mid (frequency) - The centre frequency of the lo-mid equaliser is continuously variable from
100Hz to 2kHz.

2k

Lo-Mid (Gain) - The gain of the lo-mid equaliser is continuously variable from -15dB to +15dB
with a centre detent at 0dB.

Bass (frequency) - The centre frequency of the bass equaliser is continuously variable from 20Hz
to 200Hz.

200

Bass (Gain) - The gain of the bass equaliser is continuously variable from -15dB to +15dB with a
centre detent at 0dB.

+15

EQ On - The Equaliser can be enabled by depressing the EQ On switch. Otherwise changes on the
Equaliser controls have no effect. This can be used to compare the sound with and without EQ

eq

during sound check.

on

EQ Off (aux pre) - If desired, the channel signal can be sent to the auxiliary outputs without
equalisation. Depressing the EQ Off (Aux Pre) switch causes pre-fader auxiliary sends 1-6 to be

sourced before the channel equaliser (Pre-EQ). Note: Post fader sends are always Post EQ.

Each mono input channel of the Verona has a four (4) band sweep EQ
allowing tonal control over the input signal.

SOLO

10

10

15

20

30

40

MIDAS

5

0

5

18

12

0

-18

mute 1

mute 2

mute 3

mute 4

Operators Manual - Page 9

48v -15

padpower

+30 +45

mic gain

OO

mic

60

hi-pass

20

-15 +15
5k 10k

treble

2k

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq

off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

1-2

3-4

5-6

7-8

mono

stereo

c

l r

pan

groups master
pan s i s

MUTE

Mono Input ChannelsMono Input Channels

Auxiliary Outputs

+60+15

ins

160

400

20k

switch is depressed). As a result, the actual level sent to the aux buss is proportional to the aux send control only.

Post-Fade aux sends are sourced after the channel Insert, Mute, EQ and channel Fader. As a result, the actual
level sent to the aux buss is proportional to the aux send control AND the channel fader.

Typical uses of auxiliaries are:

2k

Application Pre/Post Fade Reason

Stage Monitors Pre (Post-EQ) The level in the monitor stays constant so that

200

+15

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

aux 6

aux 7

pre

aux 8

pre

Effects Sends Post The level sent to the effects is proportional to the

Multi Track Recording Pre (Pre-EQ) The recording is made at constant level without
or Monitors from FOH any equalisation so that changes in the mix level

Mixed Recording Post(Post-EQ) If the aux is set to unity, the FOH mix is
(for the artist) replicated on the aux output including EQ but

Aux sends 1 through 6 are globally switched Pre or Post Fader. However, Aux 7 and 8 may be

0

+6

0

individually sourced either Post Fader or Pre Fader using the selector switch on the channel and
can not be set pre-EQ.

Please note that, for illustration puposes, auxiliary 1 through 5 sends have been omitted but work
in the same manner as auxiliary 6 (illustrated).

Aux Send Level - The auxiliary send level is continuously variable from off (-inf) to +6dB.

+6

0

+6

The Verona has 8 auxiliary outputs which can be used for effects sends,
monitors or as extra assignable outputs from the console.

Pre-Fade auxiliary (aux) sends are sourced after the channel Insert,
Mute and EQ but before the channel fader (and EQ if the Aux Pre EQ

the engineer can change the FOH level without
affecting the performer.

level on the fader so the balance between wet
(processed) and dry (un-processed) sound
stays the same even when the channel level is
changed

and EQ can be set in post-production. (You can
also use the Direct Out for this but the output will
be at unity).

excluding PAN.

SOLO

10

10

15

20

30

40

MIDAS

5

0

5

18

12

0

-18

mute 1

mute 2

mute 3

mute 4

Aux 7/8 Pre - Auxiliary 7 and 8 sends are assignable Pre of Post fader. When depressed, the auxiliary is sources
pre-fader (i.e. the channel fader has no effect upon the level of the signal sent to the auxiliary).

Note: When a channel Mute is enabled, aux sends for the channel are also muted.

Operators Manual - Page 10

48v -15

padpower

+30 +45

mic gain

OO

mic

60

hi-pass

20

-15 +15
5k 10k

treble

2k

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq

off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

1-2

3-4

5-6

7-8

mono

stereo

c

l r

pan

groups master
pan s i s

MUTE

SOLO

10

18

12

5

-18

0

5

mute 1

10

15

mute 2

20

mute 3

30

40

mute 4

MIDAS

Mono Input ChannelsMono Input Channels

Pan and Routing

+60+15

ins

160

400

20k

Group sends are post channel equalisation, mute and fader.

The group sends can be configured in either of two modes:-

1. Pre-Pan (mono)

Each group is sent the same mono signal.

2k

i.e. Selecting 1, 2 & 3 will send to each group equally.

2. Post-Pan (stereo)

200

Each pair of groups behave as if they were stereo groups. The mono signal is positioned in a stereo field by
the pan control. The Left signal is routed to the odd numbered buss and the right to the even numbered

+15

buss.
i.e. Selecting groups 1, 2 & 3 with pan hard left will result in signal being routed to groups 1 & 3 only.

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

This configuration is made by depressing the ‘Groups Pan’ key for stereo group operation or released for mono
group mode.

This selection, however, is on a channel-by-channel basis and so some may be assigned to the groups as mono or
as stereo depending upon the desired usage.

For example:

Group 1-8 - Depressing the group switch

Similarly, with pan hard right, signal will be sent only to group 2.

Application Config. Reason

Multitrack Recording Mono Inputs can be sent to a particular input on the multitrack recorder

Alternative/Delay Output Stereo The Group would behave in the same manner as the stereo

routes the channel signal to the group
busses as described above.

Mono - Depressing the mono switch routes
the channel signal to the mono buss (post­EQ, mute and fader).

Pan - The pan control allows the channel
signal to be positioned in a stereo field when
routed to the stereo buss or when group
sends are configured to be stereo. The pan
control allows continuous adjustment of the

0

image from hard left, to hard right with a
centre detent and obeys a constant power
law (i.e. -3dB at the centre so that the
output power remains at unity).

Groups Pan - As described above the
Verona’s group sends may be configured by
depressing the ‘Groups Pan’ key for stereo
group operation or released for mono group
mode.

The Verona is a flexible mixing console with eight group buss outputs
plus stereo and mono outputs.

Groups

Signal can be routed to any of the eight group busses by depressing
the corresponding group select switch.

without affecting the stereo image used at FOH.

output allowing for separate levelcontrol but retaining the original

stereo image from FOH.

Stereo - Depressing the stereo switch

groups

mono

1-2

3-4

5-6

7-8

stereo

routes the channel signal to the stereo
(main left and right) buss (post-EQ, pan,
mute and fader).

Master SIS - The master SIS switch will
enable the spacial imaging system
whereby the channel pan control operates
in a different way. When panned hard left,
signal is routed to the stereo left output as
normal, similarly when panned hard right,
the signal is routed to the stereo right
output as normal. However, when panned

c

centre, the signal is routed ONLY to the
mono output creating a LCR (left-centre­right) system instead of the normal LR
(left-right) system.

l r

pan

You may use SIS mode if using a centre
speaker for speech or solo instruments

groups master
pan s i s

MUTE

while retaining the stereo for backing
vocals and instruments.

Mute - The mute switch mutes the channel
signal. Note that signal will still be sent to
the insert point and to the direct output.
The mute status of the channel is indicated
by the corresponding mute LED

Operators Manual - Page 11

48v -15

+30 +45

mic gain

mic

hi-pass

Mono Input ChannelsMono Input Channels

padpower

+60+15

OO

ins

60

160

20

400

-15 +15
5k 10k

treble

2k

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq

off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

1-2

3-4

5-6

7-8

mono

c

stereo

Solo - When depressed, the channel signal
will be sent to the After Fade Listen (AFL)

20k

stereo and Pre Fade Listen (PFL) mono

SOLO

outputs. The solo LED indicator will

4 LED Meter - Each input channel contains
in-channel monitoring allowing the user to
monitor the input signal without the need for

using the PFL.
illuminate to show that the channel solo is
active.

10

10

15

20

30

40

18

12

5

-18

0

5

mute 1

mute 2

mute 3

mute 4

0

2k

The Left and Right Monitor and the PFL
console outputs can be used, for example,
when operating from within a booth to hear
selected solos and not the whole FOH mix.

200

+15

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

Note: If Solo In Place is activated on the
console, any active input solos will replace
the master outputs completely until the solo
is removed.

Channel Fader - The channel fader allows
for continuous adjustment of the channel
level from off (-inf) to +10dB.

At 0dB, the output of the channel to the
Stereo, Mono and Group busses will be at
unity (i.e. no boost or cut in level from the
input).

Mute 1,2,3 & 4 - The Verona has four (4) automute busses that can be controlled from the centre section of the

The in-channel meter is especially useful

when setting the microphone gain of a

channel. Also, as the, meter is post-EQ, it is

possible to see the effect that the channel

equalisation has upon the level. It may be

necessary to turn the input gain down when

excessive EQ is used to prevent the channel

from overloading.

-18db - Signal Present
0dB - Normal Level
+12dB - High Level
+18dB - Overload (Peak)

Note: The LED meter and the direct output

are fed from the same source and are Post-

Insert and EQ but Pre-Fader and Mute. The

channel in-line meter and direct output are

unaffected by the channel mute or

automutes.

console. To assign an input channel to an automute, switch in the desired mute switch.

Commonly, these are used to mute similar channels, for example:

Channels Reason

Drum Mics Allows the engineer to mute the whole drum kit at once.

l r

pan

groups master
pan s i s

MUTE

SOLO

10

18

12

5

-18

0

5

mute 1

10

15

mute 2

20

mute 3

30

40

mute 4

MIDAS

Choir Overheads Allows the engineer to quickly remove all choir mics at once

Orchestra Parts Allows the engineer to zone mics together (e.g. Brass, Strings,

etc.) and mute sections together if they were not playing.

Note that if any assigned automute or the channel mute is activated then the channel will be muted until all
assigned automutes and the channel mute are removed (i.e. the mutes work like a logical OR where any single or
combination of mutes will mute the channel output).

0

Operators Manual - Page 12

Multi Function

Input Channel

Operators Manual - Page 13

48v -15

+30 +45

mic gain

mic

hi-pass

line gain

mono

treble

-15

-15

hi-mid

lo-mid

-15

bass

-15

aux pre

eq
off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

mono

l

groups
pan

stereo

OO

0

stereo

image

1k5

6003k8k
300

100

1-2

3-4

5-6

7-8

c

pan

MUTE

SOLO

10

10

15

20

30

40

MIDAS

Rear Panel

padpower

+60+15

ins

80Hz

+20

wide

+15

+15

500

1k2

+15

+15

Front Panel

eq
on

The actual number of multifunction input channels on your Midas Verona will depend upon your choice of frame. However,
each frame functions in essentially the same way.

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

stereo

r

18

12

0

5

-18

0

5

mute 1

mute 2

mute 3

mute 4

Multi Function Input ChannelsMulti Function Input Channels

mic

insert

mic

1

direct

out

line L

line

in

R

PUSH

mic

48v Power - When depressed, the Verona
will apply 48 volts phantom power the
channel’s microphone input to power
condenser microphones, direct inject boxes
or other devices that require phantom
power.

The red phantom power LED will light to
indicate that phantom power is being
applied.

Mic Ø - The microphone phase switch
causes a 180 degree phase change (with
respect to the input) to occur in the input
amplifier inverting the phase of the
microphone signal to the channel. This is
generally desirable when trying to sum two
signals that are out of phase which would
lead to cancellation (especially at low
frequencies). For example, when trying to
use microphone signals from both the top
and bottom head of a snare drum.

Note: On stereo channels, the phase switch has no effect
upon the left and right line inputs.

80Hz

hi-pass

0

+20

line gain

stereo

mono

image

wide

The Verona channel inputs are located on the rear of the console. Each
multifunction channel provides:

one insert point on a single TRS jack socket;
two quarter-inch TRS balanced line in jack socket inputs;
one mic XLR female.

The insert point operates on the XLR microphone input only (i.e. not on the line
inputs) and is unbalanced and conventionally wired insert where:

Tip - Channel Signal Send
Ring - Channel Signal Return
Sleeve - Signal Common Ground

The direct out and insert points operate at a nominal level of 0dBu.

Balanced XLR and Jack inputs are conventionally wired:

XLR - 1. Screen - 2. Hot Signal - 3. Cold Signal
TRS - T. Hot Signal - R. Cold Signal - S. Screen

Hi-Pass - The high pass switch enables an 80Hz high pass filter on the microphone input. This

is commonly used to remove handling noise, bass rumble through coupling with the stage or
mains hum.

Line Gain - The line gain is continuously variable from off (-inf) to +20dB allowing for low
level line signals to be trimmed to obtain the optimal signal level. The pre-fade input signal
level can be monitored using the in-channel LED meter (discussed later in this section).

Image - The image control controls the stereo image of the channel and is continuously
variable from mono through Left-Right stereo to a wide stereo image. The wide stereo image
uses phase cancellation techniques to create a ‘wider’ sounding signal by removing an
amount of signal common to both the left and right signals.

Operators Manual - Page 14

48v -15

+30 +45

mic gain

OO

mic

Pad - The Pad switch provides 15dB
attenuation on the input to allow the
connection of high output microphones and
line level signals (to the microphone input)
without overloading the channel’s input
amplifier.

padpower

Note: On multifunction channels, the Pad
switch has no effect upon the left & right
line level inputs.

Mic Gain - The microphone gain is

+60+15

continuously variable from +15dB to
+60dB (effective channel input gain 0dB to
+45dB with pad enabled). The pre-fade

ins

channel input level can be monitored on the
in-channel LED meter (discussed later in
this section).

Ins - The insert switch enables the channel
insert point by connecting the insert return
to the channel signal signal path. This
allows for the insertion of dynamic
processors or effects into the signal path
(for example, compression, limiting or
gating of microphone signals).

Note: On stereo channels, the channel insert has no effect
upon the left and right line inputs.

48v -15

+30 +45

mic gain

mic

hi-pass

line gain

mono

treble

-15

-15

hi-mid

lo-mid

-15

bass

-15

aux pre

eq
off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

mono

OO

0

stereo

image

1k5

6003k8k
300

100

1-2

3-4

5-6

7-8

c

padpower

+20

stereo

Multi Function Input ChannelsMulti Function Input Channels

+60+15

ins

80Hz

treble

wide

Treble - The treble shelving EQ gain is continuously variable from -15dB to +15dB.

+15

+15

500

1k2

+15

+15

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

-15

-15

hi-mid

lo-mid

-15

bass

-15

aux pre

eq
off

+15

+15

1k5

6003k8k
300

100

+15

+15

eq
on

Hi-Mid Gain - The Hi-mid gain is continuously variable from -15dB to +15dB.

Hi-Mid Frequency - The centre frequency of the hi-mid EQ is continuously variable from

600Hz to 8kHz allowing the operator to select the desired centre frequency for the equaliser.

500

Lo-Mid Frequency - The centre frequency of the lo-mid EQ is continuously variable from
100Hz to 1.2kHz allowing the operator to select the desired centre frequency for the equaliser.

1k2

Lo-Mid Gain - The Lo-mid gain is continuously variable from -15dB to +15dB.

Bass Gain - The bass shelving EQ gain is continuously variable from -15dB to +15dB.

EQ On - The channel equalisation stages are enabled by depressing the EQ on switch.

Otherwise the settings of the channel EQ will have no effect.

EQ Off (aux Pre) - When depressed, auxiliary sends 1 through 6 will be sourced pre­equalisation. Otherwise auxiliary sends will be sourced post EQ. The use of this option depends
upon how the auxiliary sends are to be used.

Channel Equalisation

The Verona’s multifunction channels each have treble and bass
shelving EQ and hi and lo-mid sweep EQ stages for tonal control.

groups
pan

l

pan

MUTE

stereo

SOLO

10

10

15

20

30

40

MIDAS

5

0

5

r

18

12

0

-18

mute 1

mute 2

mute 3

mute 4

Operators Manual - Page 15

48v -15

+30 +45

mic gain

mic

hi-pass

line gain

mono

treble

-15

OO

stereo

image

Multi Function Input ChannelsMulti Function Input Channels

padpower

+60+15

ins

80Hz

0

+20

wide

Pre-Fade auxiliary (aux) 1-6 sends are sourced after the channel Insert, Mute and EQ but before the channel fader
(and EQ if the Aux Pre EQ switch is depressed). As a result, the actual level sent to the aux buss is proportional to

+15

the aux send control only.

Auxiliary Outputs

Note: Multifunction channel signals are summed into a mono signal
which can be routed to the auxiliary busses by the channel aux sends.

The Verona has eight (8) auxiliary outputs which can be used for
effects sends, monitor sends or as extra assignable outputs from the
console.

-15

hi-mid

lo-mid

-15

bass

-15

aux pre

eq
off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

mono

groups
pan

l

pan

MUTE

stereo

SOLO

1k5

6003k8k
300

100

1-2

3-4

5-6

7-8

stereo

c

18

10

12

0

5

-18

0

5

mute 1

10

15

mute 2

20

mute 3

30

40

mute 4

+15

Post-Fade aux sends are sourced after the channel Insert, Mute, EQ and channel Fader. As a result, the actual
level sent to the aux buss is proportional to the aux send control AND the channel fader.

500

1k2

+15

+15

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

Typical uses of auxiliaries are:

Application Pre/Post Fade Reason

Stage Monitors Pre (Post-EQ) The level in the monitor stays constant so that

the engineer can change the FOH level without
affecting the performer.

Effects Sends Post The level sent to the effects is proportional to the

level on the fader so the balance between wet
(processed) and dry (un-processed) sound
stays the same even when the channel level is
changed

Multi Track Recording Pre (Pre-EQ) The recording is made at constant level without

any equalisation so that changes in the mix level
and EQ can be set in post-production. (You can
also use the Direct Out for this but the output will
be at unity).

Mixed Recording Post (Post-EQ) If the aux is set to unity, the FOH mix is

replicated on the aux output including EQ but
excluding PAN.

Aux sends 1 through 6 are always globally switchable pre or post fader. However, Aux 7 and 8 may individually be
sourced either Post Fader or Pre Fader using the selector switch on the channel and can not be pre-EQ.

Please note that, for illustration puposes, auxiliary 1 through 4 sends have been omitted but work in the same
manner as auxiliary 6 (illustrated).

0

aux 5

r

+6

0

Aux Send Level - The auxiliary send level is continuously variable from off (-inf) to +6dB.

aux 6

aux 7

pre

aux 8

pre

+6

0

+6

0

+6

Aux 7/8 Pre - Both aux 7 and aux 8 are assignable Pre or Post fader. When depressed, the
auxiliary is sourced pre-fader (i.e. the channel fader has no effect upon the level of the
signal sent to the auxiliary).

Note: When a channel Mute is enabled, aux sends for the channel are also muted, however
when a signal is sent pre-fader (for example to stage monitoring) the signal will continue to
be sent to the auxiliary buss even when the channel fader is at the off position. This can be
very embarrassing, for example, when queueing up backing tracks during a show without
the channel mute enabled (and playing the track to whoever may be on stage at the time)

NOTE: Stereo modules can equally be used for mono signals (plugged in via the microphone socket). The EQ on the
stereo channels has fixed frequency high and low sections which are optimised for vocals.

MIDAS

Operators Manual - Page 16

48v -15

+30 +45

mic gain

mic

hi-pass

line gain

mono

treble

-15

-15

hi-mid

lo-mid

-15

bass

-15

aux pre

eq
off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

mono

l

groups
pan

stereo

OO

0

stereo

image

1k5

6003k8k
300

100

1-2

3-4

5-6

7-8

c

pan

MUTE

SOLO

10

10

15

20

30

40

MIDAS

5

0

5

padpower

+20

stereo

18

12

0

-18

mute 1

mute 2

mute 3

mute 4

Multi Function Input ChannelsMulti Function Input Channels

Pan and Routing

+60+15

ins

80Hz

Signal can be routed to any of the eight group busses by depressing the corresponding group select switch.

wide

+15

+15

500

1k2

Group sends are post channel equalisation, mute and fader.

The group sends can be configured in either of two modes:-

1. Pre-Pan (mono)

The stereo signals are sent to the busses as a mono sum of L & R regardless of the pan control.

2. Post-Pan (stereo)

Each pair of groups behave as if they were stereo groups. The relative odd and even numbered send level

+15

+15

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

This configuration is made by depressing the ‘Groups Pan’ key for stereo group operation or released for mono
group mode.

This selection is on a channel-by-channel basis and so some may be assigned to the groups as mono or as stereo
depending upon the desired usage which is especially useful if the stereo input is to be used as a mono input.

For example:

Group 1-8 - Depressing the group switch

is controlled by the pan control.

Application Config. Reason

Multitrack Recording Mono Inputs can be sent to a particular input on the

Alternative/Delay Output Stereo The Group would behave in the same manner as

routes the channel signals as described
above.

Mono - Depressing the mono switch routes
the channel signals to the mono buss (post­EQ and fader).

r

Pan - The pan control allows continuous
reciprocal adjustment of the stereo image
created by the channel. In the case of a
mono microphone signal this will be a simple
L-R pan, where, with a stereo signal this will
be a balance allowing the user to determine
the relative output power to each the Left
and Right ouput. At all points the pan retains
constant power (i.e. -3dB at the centre, 0dB
at each extreme).

Groups Pan - As described above the
Verona’s group sends may be configured by
depressing the ‘Groups Pan’ key for stereo
group operation or released for mono group
mode.

Note: That SIS is not available on stereo input channels.

The Verona is a flexible mixing console with eight group buss outputs
plus stereo and mono outputs.

Groups

multitrack recorder without affecting the stereo
image used at FOH.

the stereo output allowing for separate level
control but retaining the original stereo image
from FOH.

Stereo - Depressing the stereo switch

groups

1-2

3-4

routes the channel signals to the stereo
(main left and right) buss (post-EQ, pan
and fader).

Mute - The mute switch mutes the channel
signal. Note that signal will still be sent to

5-6

the insert point and to the direct output.
The mute status of the channel is indicated
by the corresponding mute LED.

The channel can also be muted by the four
(4) assignable mute groups which will be
explained later in this section.

mono

7-8

stereo

c

Solo - When depressed, the channel signal

l r

pan

will be sent to the AFL stereo and PFL mono
outputs. The solo LED indicator will
illuminate to show that the channel solo is

groups
pan

stereo

MUTE

SOLO

active.

The Left and Right Monitor and the PFL
console outputs can be used, for example,
when operating from within a booth to hear
selected solos and not the whole FOH mix.

Note: If Solo In Place is activated on the console, any
active solos will replace the master outputs completely
until the solo is removed.

Operators Manual - Page 17

48v -15

+30 +45

mic gain

mic

hi-pass

line gain

mono

treble

-15

-15

hi-mid

lo-mid

-15

bass

-15

aux pre

eq
off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

mono

l

groups
pan

stereo

OO

0

stereo

image

1k5

6003k8k
300

100

1-2

3-4

5-6

7-8

c

pan

MUTE

SOLO

10

10

15

20

30

40

5

0

5

padpower

+20

stereo

18

12

0

-18

mute 1

mute 2

mute 3

mute 4

Multi Function Input ChannelsMulti Function Input Channels

+60+15

ins

80Hz

Mute 1,2,3 & 4 - The Verona has four (4)

wide

automute busses that can be controlled
from the centre section of the console. To
assign an input channel to an automute,

+15

+15

500

1k2

+15

+15

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

switch in the desired mute switch.

Commonly, these are used to mute similar
channels, for example:

Channels Reason

Drum Mics Allows the engineer to

mute the whole drum kit
at once.

Choir Overheads Allows the engineer to

quickly remove all choir
mics at once

Orchestra Parts Allows the engineer to

zone mics together (e.g.
Brass, Strings, etc.) and
mute sections together if
they were not playing.

Note that if any assigned automute or the
channel mute is activated then the channel
will be muted until all assigned automutes
and the channel mute are removed (i.e. the
mutes work like a logical OR where any
single or combination of mutes will mute the
channel output).

10

10

15

20

30

40

18

12

5

-18

0

5

mute 1

mute 2

mute 3

mute 4

0

Multi Function Module hints & Tips

r

I want direct outs for recording but multi function channels don’t have any . . .

The multi function channels don’t have a specifically labelled direct output BUT, if you are using a microphone
input and don’t need to use the insert channel, you can insert a standard unbalanced quarter-inch jack lead into
the insert point and use this as a direct output. This will work on the condition that you do not activate the insert
point on the channel strip (the insert switch) as this will cause signal to the channel to be lost.

To see for yourself why this works, look at the block diagrams later in the manual.

I’m running monitors from FOH and I've run out of auxes for effects . . .

To add effects to a mono mic on a multifunction channel, use the insert send of the channel into the effects unit
and the stereo outputs into the stereo line inputs of the same channel. Use the mic gain for the mic and the line
gain for the effect return level. Now the aux sends and channel fader will control both the mic and effects.

4 LED Meter - Each input channel
contains in-channel monitoring
allowing the user to monitor the input
signal without the need for using the
PFL.

The in-channel meter is especially
useful when setting the microphone
gain of a channel. Also, as the, meter is
post-EQ, it is possible to see the effect
that the channel equalisation has upon
the level. It may be necessary to turn
the input gain down when excessive EQ
is used to prevent the channel from
overloading.

Note: The LED meter is Post-Insert and
EQ but Pre-Fader and Mute.

Channel Fader - The channel fader
allows for continuous adjustment of the
channel level from off (-inf) to +10dB.

At 0dB, the output of the channel to the
Stereo, Mono and Group busses will be
at unity (i.e. no boost or cut in level
from the input).

MIDAS

Operators Manual - Page 18

Output Module

groups -

auxes -

masters -

matrixes -

talk buss -

solo control -

automutes -

Operators Manual - Page 19

Output Module NotesOutput Module Notes

Before looking at the function of the output section of the console it is essential that the user is first comfortable with a few of
the consoles features that affect groups, matrixes and auxes. Rather than discuss these features in each section (although
they will be repeated there) an understanding of their function in a more general context is desirable.

Group Aux Changeover

group

aux
c/o

The Verona achieves this flexibility using the group aux c/o (changeover) switch. Each output can be
individually ‘changed over’ so that the group output path becomes that of the aux output and vice versa.

Why not buy a monitor or FOH console?

The Verona has been developed with real world sound engineers in mind. The real flexibility of the Verona is
in the speed in which the change over can be made and also the ability to create a hybrid console that can
be used for FOH and monitors for the smaller venue where you still need monitors but don’t have space or
money for a monitor engineer or console.

Depressing the group aux changeover switch (using a pointed object such as a pencil) will connect the
auxiliary buss to the group insert, group mute, group fader, group pan and finally the group output
XLR.

The group buss is connected to the auxiliary output pot and to the auxiliary output XLR.

This routing flexibility is available on each group/aux buss.

aux

pre

Meter Changeover

The Verona is a dual purpose console. That is, that the Verona is equally as comfortable
as a monitor console as it is as a front of house console.

What does this actually mean?

Monitor engineers tend to prefer the output faders on their console to operate the

auxiliary outputs (for monitors) where Front of House engineers would rather have
their output faders for groups (either for sub mixes or delay/alternative outputs).

aux aux

mtx

Direct Inputs

The Verona has four (4) direct inputs on balanced TRS quarter-inch jack sockets located next to the
matrix outputs on the rear panel which can be used for console linking or effects returns.

Mono - Routes the direct input to the
main mono buss.

Mtx - Routes the direct input to the
similarly numbered matrix buss (i.e. 1
through 4).

Solo - Routes the direct input to the
mono PFL and stereo AFL buss

group meters

+21 +21

+18 +18

+15 +15

+12 +12

+9 +9

+6 +6

+3 +3

0 0

-3 -3

-6 -6

-9 -9

-12 -12

-15 -15

-18 -18

-21 -21

-24 -24

It is possible on the Verona to change the group meters to monitor the aux or matrix
output rather than the group output. For example, if using the matrix outputs to drive
delay speakers, it may be desirable to monitor the output from those outputs.

When depressed, the aux switch will send the aux signal to the meter array (note that,
if you have used group aux c/o, the aux switch should really read group!).

When depressed, the mtx switch will send the matrix signal to the meter array. This
switch ALWAYS overrides the aux meter select switch and must be released to allow the
aux signal to be sent to the meter array.

Note: Meters are Post Fader and Post Mute

TIP

If you wish to understand more about how the Verona routes it’s signals, please refer to
the block diagram section of this manual.

direct

input to

mono

stereomtx

0

+20

SOLO

Stereo - Routes the mono direct input
to the main stereo Left and Right
busses equally.

Level - The direct input level is
continuously variable from off (-inf) to
+20dB.

Operators Manual - Page 20

group meters

+21 +21

+18 +18

+15 +15

+12 +12

+9 +9

+6 +6

+3 +3

0 0

-3 -3

-6 -6

-9 -9

-12 -12

-15 -15

-18 -18

-21 -21

-24

-24 -24

aux

aux aux

mtx

mtx

direct

mono

Rear Panel

insert

G2 G1

matrix direct

aux out aux out

group group

Verona Group OutputsVerona Group Outputs

insert

1

in 1

2

2

1

1

Each group buss can be connected to external equipment by means of one single
balanced male XLR socket (0dBu nominal level).

In addition to this, each group can be inserted into by means of a single
unbalanced quarter-inch TRS jack conventionally wired (0dBu nominal level).

Group Insert
Group Output

XLR Sockets
1- Screen 2 - Signal Hot 3 - Signal Cold

TRS Insert Jacks
T - Signal Send R - Signal Return S - Screen

Front Panel

group

aux
c/o

group 1

group

to mtx

mono

group 1

aux 1

MUTE

SOLO

l r

pan

MUTE

SOLO

c

+10

aux
pre

pre

fade

stereo

master

group

aux

c/o

aux

pre

Group Aux C/O - The group auxiliary
changeover switch is described on the
previous page. When enabled, auxiliary
signals are routed into the group output
controls and hence group should be
mentally changed to ‘aux’.

group 1

Group to Mtx - The group to mtx switch
routes the group signal to the matrix send
pots (discussed later in this section).

Mono - When depressed, the signal will be

0

sent to the main mono buss via the master

group

to mtx

mono

stereo

c

pre

fade

Pre-Fade (Group to Mtx) - When
depressed, the signal sent to the matrix
send pots is sourced pre-fader and hence
the level will be proportional to the matrix
send pot only. This may be desirable if
using the matrix for recording or
monitoring (e.g. stage side fills).

sis switch.

l r

Pan - The pan control allows the channel
signal to be positioned in a stereo field when
routed to the stereo buss. The pan control
allows continuous adjustment of the image
from hard left, to hard right with a centre
detent and obeys a constant power law (i.e.

-3dB at the centre so that the output
remains at unity).

pan

master

MUTE

group 1

SOLO

s i s

Stereo - When depressed, the signal will
be sent to the main stereo buss via the pan
and master sis switch.

Master SIS - The master SIS switch will
enable the spacial imaging system
whereby the channel pan control operates
in a different way. When panned hard left,
signal is routed to the stereo left output as
normal, similarly when panned hard right,

Mute - The mute switch mutes the group
signal at all points after the insert return
(and hence any matrix sends).

s i s

Solo - The solo switch sends the group
signal to the AFL stereo and PFL mono

10

5

0

the signal is routed to the stereo right
output as normal. However, when panned
centre, the signal is routed ONLY to the
mono output creating a LCR (left-centre­right) system instead of the normal LR
(left-right) system.

busses.

10

5

0

5

10

15

20

30

40

Fader - The fader allows continuous
adjustment of the group output level from
off (-inf) to +10dB.

5

10

15

20

30

40

Operators Manual - Page 21

group meters

+21 +21

+18 +18

+15 +15

+12 +12

+9 +9

+6 +6

+3 +3

0 0

-3 -3

-6 -6

-9 -9

-12 -12

-15 -15

-18 -18

-21 -21

-24

-24 -24

aux

aux aux

mtx

mtx

direct

mono

Rear Panel

matrix matrix matrix matrixdirect direct direct direct

4 3 2 1in 4 in 3 in 2 in 1

XLR Wiring

Pin 1 - Shield, Pin 2 - Hot Signal, Pin 3 - Cold Signal

Verona Matrix OutputsVerona Matrix Outputs

The Verona’s matrix outputs can
be found on the rear of the
console.

Four male XLR sockets are
provided, one for each matrix
output.

Front Panel

The matrix provides another four outputs from the console
which can be ‘made’ from a combination of the consoles
other outputs.

The matrix signal can be made by combination of the group
buss signals and mono, left and right master signals. They
can be used to drive additional speaker zones or as effects
sends from the groups (like the auxes from inputs)

group

aux
c/o

group 1

group
to mtx

mono

group 1

aux 1

MUTE

SOLO

l r

pan

MUTE

SOLO

c

+10

aux
pre

pre

fade

stereo

master

mono

direct

input to

0

+6

group 1

0

+6

group 2

0

0

stereomtx

0

+20

SOLO

0

Group (1-8) - The group level
sent to the matrix is continuously
variable from off (-inf) to +6dB.
Unity (0dB) is also marked on the
scale allowing signal to be routed
to the matrix without any
attenuation or gain.

Each of the groups (1-8) has it’s
own individual matrix send level.

s i s

10

5

0

5

10

15

20

30

40

group 3

group 4

group 5

group 6

group 7

group 8

+6

0

+6

0

+6

0

+6

0

+6

0

+6

matrix 1

+6

mono master

0

+6

left master

0

+6

right master

+10

matrix 1

MUTE

SOLO

0

Mono Master - The master mono signal
sent to the matrix is continuously variable
from off (-inf) to +6dB. Unity (0dB) is also
marked on the scale allowing signal to be
routed to the matrix without any
attenuation or gain.

Left Master - The master left signal sent to
the matrix is continuously variable from off
(-inf) to +6dB. Unity (0dB) is also marked
on the scale allowing signal to be routed to
the matrix without any attenuation or gain.

Right Master - The master right signal
sent to the matrix is continuously variable
from off (-inf) to +6dB. Unity (0dB) is also
marked on the scale allowing signal to be
routed to the matrix without any
attenuation or gain.

Alternatively, the auxiliaries can be routed
to the matrix by depressing the group/aux
changeover switch. This is especially useful
for generating additional monitor mixes or
re-routing existing monitor mixes (for
example if artists are moving around to
other parts of the stage).

The overall level of the matrix output is
controlled by the Matrix x pot (where x is
the number of the matrix 1 through 4) and
is continuously variable from off (-inf) to
+10dB.

Mute - The matrix output can be muted
immediately after the group and master
matrix sends.

Solo - The solo switch routes the matrix
signal to the mono PFL and the stereo AFL
buss.

Operators Manual - Page 22

group meters

+21 +21

+18 +18

+15 +15

+12 +12

+9 +9

+6 +6

+3 +3

0 0

-3 -3

-6 -6

-9 -9

-12 -12

-15 -15

-18 -18

-21 -21

-24

-24 -24

aux

aux aux

mtx

mtx

direct

mono

Verona Aux OutputsVerona Aux Outputs

Rear Panel

aux out aux out aux out aux outaux out aux out aux out aux out

8 6 4 27 5 3 1

XLR Wiring

Pin 1 - Shield, Pin 2 - Hot Signal, Pin 3 - Cold Signal

Front Panel

The Verona provides eight independent auxiliary outputs
which are controlled in this section.

The Verona’s auxiliary
outputs can be found on the
rear of the console.

Eight male XLR sockets are
provided, one for each
auxiliary output.

group

aux
c/o

group 1

group
to mtx

mono

group 1

aux 1

MUTE

SOLO

l r

pan

MUTE

SOLO

c

+10

aux
pre

pre

fade

stereo

master

group

aux
c/o

Group Aux C/O - The group auxiliary
changeover is described at the beginning of
this section. When depressed, group signals

aux

will be controlled in this section and hence aux

pre

should be mentally interchanged with ‘group’.

Aux Pre - The auxiliary pre switch is the global control which determines whether the auxiliary is taken from the
input channel pre fader or post fader. This switch can be found on each of the auxiliaries 1 through 6. On aux 7 and
8 these are assignable individually pre/post on the channel modules.

Pre-Fade auxiliary (aux) sends are sourced after the channel Insert, Mute and EQ but before the channel fader
(and EQ on 1-6 if the Aux Pre EQ switch is depressed). As a result, the actual level sent to the aux buss is
proportional to the aux send control only.

Post-Fade aux sends are sourced after the channel Insert, Mute, EQ and channel Fader. As a result, the actual
level sent to the aux buss is proportional to the aux send control AND the channel fader.

0

Typical uses of auxiliaries are:

Application Pre/Post Fade Reason

Stage Monitors Pre (Post-EQ) The level in the monitor stays constant so that

the engineer can change the FOH level without
affecting the performer.

Effects Sends Post The level sent to the effects is proportional to

the level on the fader so the balance between
wet (processed) and dry (un-processed) sound
stays the same even when the channel level is
changed

Multi Track Recording Pre (Pre-EQ) The recording is made at constant level without
or Monitors from FOH any equalisation so that changes in the mix level

and EQ can be set in post-production. (You can
also use the Direct Out for this but the output

s i s

will be at unity).

Mixed Recording Post (Post-EQ) If the aux is set to unity, the FOH mix is

aux 1

(for the artist) replicated on the aux output including EQ but

excluding PAN.

10

5

0

5

10

15

20

30

40

MUTE

SOLO

+10

0

Auxiliary Master Level - The output level of the auxiliary is continuously variable from off (­inf) to +10dB.

Auxiliary Mute - When depressed, the auxiliary signal is muted at every point after the master
send level.

Auxiliary Solo - When depressed, the auxiliary signal is sent to the stereo AFL and mono PFL
busses.

Operators Manual - Page 23

Verona Master OutputsVerona Master Outputs

left

left

1505k500

50

freq

generator

on

+15 +60

talk

on

master meters

+21

+21

+18

+18

+15

+15

+12

+12

+9+9+9+9+9

+6+6+6+6+6

+3+3+3+3+3

00000

-3-3-3-3-3

-6-6-6-6-6

-9-9-9-9-9

-12

-12

-15

-15

-18

-18

-21

-21

-24

-24

mono

solo meters

pfl

+21

+21

+18

+18

+15

+15

+12

+12

-12

-12

-15

-15

-18

-18

-21

-21

-24

-24

0

mono

+10

stereo

right

right

tape

SOLO

12

talk
mic

insert

MR

insert insert

The Verona’s main outputs are located on the rear of the console and provide:

MLMC

Output Source Connector Nom. Level

+21

+18

+15

+12

PUSH

monitor

talk out

talk

in

R

tape

in

R

L

out

monitorpfl out

L

Master L Left Buss XLR Male (Bal) 0dBu
Master C Mono Buss XLR Male (Bal) 0dBu
Master R Right Buss XLR Male (Bal) 0dBu
Monitor L AFL Solo L Buss XLR Male (Bal) 0dBu
PFL Out PFL Solo Buss XLR Male (Bal) 0dBu
Monitor R AFL Solo R Buss XLR Male (Bal) 0dBu
Tape Out L Master Left RCA Phono -10dBu

-12

-15

-18

-21

-24

+21

+18

+15

+12

+9

+6

+3

0

-3

-6

-9

-12

-15

-18

-21

-24

0

+10

3

NEUTRIK

master

shown on the solo meters. The solo meters are pre monitor or phones output mute and level

R

master master

C L

and so are unaffected by changes in the headphone level or the level sent to the monitor
ouptuts.

Tape Out R Master Right RCA Phono -10dBu
Talk Out Talk Buss XLR Male (Bal) 0dBu

Also provided are Master L-C-R insert points on conventionally wired quarter­inch TRS jacks (0dBu nominal level), tape inputs (RCA Phono, -10dBu nominal
level) and Talk Input (Male XLR balanced, 0dBu nominal level).

Master Meters

The master meters show the actual peak ouput
level from the console’s left, right and centre
(mono) busses.

Note that these meters are post master fader and
post master output mute.

Solo Meters

The solo (AFL L, AFL R and PFL) buss levels are

master meters

+21

+18

+15

+12

+9+9+9+9+9

+6+6+6+6+6

+3+3+3+3+3

00000

-3-3-3-3-3

-6-6-6-6-6

-9-9-9-9-9

-12

-15

-18

-21

-24

mono

left

solo meters

pfl

left

+21

+18

+15

+12

-12

-15

-18

-21

-24

+21

+21

+18

+18

+15

+15

+12

+12

-12

-12

-15

-15

-18

-18

-21

-21

-24

-24

right

right

+21

+21

+18

+18

+15

+15

+12

+12

+9

+6

+3

0

-3

-6

-9

-12

-12

-15

-15

-18

-18

-21

-21

-24

-24

master

talk

external

solo in
place

groups

1

1-2

auto

3-4

2

5-6

mute

7-8

mono

stereo

3

aux

matrix

masters

4

pfl

SOLO

monitor

phones

stereo pre

to mono

MUTE MUTE

left

SOLO SOLO

stereo mono

local

0

+10

MUTE

MUTE

insert

MUTE

right

mono

10

10

5

5

0

0

5

5

10

10

15

15

20

20

30

30

40

40

1505k500

00

The Verona provides a signal generator which can be routed to any of the
console’s outputs.

50

freq

0

tapetape

+20+20

Freq - The output frequency of the generator is continuously variable from
50Hz to 5kHz allowing the user to test, for example, three or four bands of a
crossover system.

monomono

+10

generator

stereostereo

SOLOSOLO

on

0

+10

+15 +60

talk

on

3

12

talk
mic

Generator Level - The level of the generator output is continuously variable
from off (-inf) to +10dB.

Generator On - Enables the Signal Generator

Talk Mic Gain - The gain of the talk microphone input

is continuously variable from +15dB to +60dB.

NEUTRIK

Talk Mic - The talk mic socket is a conventionally
wired XLR male and is supplied with 48v phantom
power allowing the connection of condenser
microphones.

Talk On - When depressed, the talk microphone input
is enabled and routed to the talk buss. When enabled,
all local outputs are attenuated by 20dB to help
prevent feedback.

Operators Manual - Page 24

1505k500

50

generator

+15 +60

external

groups

mono

aux

SOLO

phones

left

left

freq

on

talk

on

talk

1-2

3-4

5-6

7-8

pfl

master meters

+21

+21

+18

+18

+15

+15

+12

+12

+9+9+9+9+9

+6+6+6+6+6

+3+3+3+3+3

00000

-3-3-3-3-3

-6-6-6-6-6

-9-9-9-9-9

-12

-12

-15

-15

-18

-18

-21

-21

-24

-24

mono

solo meters

pfl

+21

+21

+18

+18

+15

+15

+12

+12

-12

-12

-15

-15

-18

-18

-21

-21

-24

-24

0

mono

+10

stereo

master

solo in
place

1

auto

2

mute

stereo

3

matrix

masters

4

monitor

local

0

right

right

tape

SOLO

12

talk
mic

Verona Master OutputsVerona Master Outputs

+21

+18

+15

+12

-12

-15

-18

-21

-24

talk

mono

aux

external

groups

1-2

3-4

5-6

7-8

stereo

matrix

solo insolo in
placeplace

1

autoauto

2

mutemute

3

mastersmasters

4

+21

+18

+15

+12

+9

+6

+3

0

-3

-6

-9

-12

-15

-18

-21

-24

0

+10

3

NEUTRIK

pfl

SOLO

monitor

phones

0

+10

MUTE

0

local

0

+10

MUTE

Talk External - Talk external enables the talk out and talk in signals on the
rear of the console. The talk in signal is summed with the internal talk mic
and generator signals.

Groups 1-8 - When depressed, the talk buss signal is routed to the group
buss.

Mono - When depressed, the talk buss signal is routed to the mono buss.

Stereo - When depressed, the talk buss signal is routed to the stereo buss.

Aux - When depressed, the talk buss signal is routed to the aux buss.

Matrix - When depressed, the talk buss signal is routed to the matrix buss.

Note: Essentially with all buttons depressed, the talk buss signal is routed to
all the consoles busses (except the local outputs and direct outputs).

PFL Solo - When depressed, the local monitor and headphones signal is
sourced from the PFL mono signal rather than the AFL stereo default.

Phones/Local Level - The local and headphones level is continuously
variable from off (-inf) to +10dB.

Phones/Local Mute - The local and headphones signal can be muted by
depressing the mute switch.

+10

MUTE

MUTE

stereo pre

insert

to mono

MUTE MUTE

left

SOLO SOLO

stereo mono

MUTE

right

mono

10

10

5

5

0

0

5

5

10

10

15

15

20

20

30

30

40

40

+10

Operators Manual - Page 25

left

left

1505k500

50

freq

generator

on

+15 +60

talk

on

master meters

+21

+21

+18

+18

+15

+15

+12

+12

+9+9+9+9+9

+6+6+6+6+6

+3+3+3+3+3

00000

-3-3-3-3-3

-6-6-6-6-6

-9-9-9-9-9

-12

-12

-15

-15

-18

-18

-21

-21

-24

-24

mono

solo meters

pfl

+21

+21

+18

+18

+15

+15

+12

+12

-12

-12

-15

-15

-18

-18

-21

-21

-24

-24

0

mono

+10

stereo

right

right

tape

SOLO

12

talk
mic

Verona Master OutputsVerona Master Outputs

The controls on this page are those directly responsible
for the main outputs from the console.

Stereo to Mono - When depressed,

+21

+18

+15

+12

a sum of the stereo left and right
signals are routed to the mono
signal buss via the pre insert switch.

Pre Insert - When depressed, the
stereo signal sent to the mono buss

-12

-15

-18

-21

-24

+21

+18

+15

+12

+9

+6

+3

0

-3

-6

-9

-12

-15

-18

-21

-24

0

+10

The setting of this depends upon the circumstances (and the usage of the centre
mono ouptut). For example, if an independent graphic EQ or limiter is required to
control the mono centre speaker, then it may not be required (or desired) to have
the graphic EQ/limiter inserted into the left and right output affect the mono
centre.

Mute - Each of the left right and centre outputs have individual channel mutes
which mute the signal post fader.

Solo - When depressed, the stereo or mono signal is routed to the PFL mono and
AFL stereo busses.

is sourced from the stereo signals
before the stereo insert points.
Otherwise the signal is taken after
the stereo inserts.

Output Level - Each output level is continuously variable from off (-inf) to
+10dB.

3

NEUTRIK

stereo pre

insert

to mono

MUTE MUTE

left

SOLO SOLO

right

MUTE

mono

stereo mono

10

10

5

5

0

0

5

5

10

10

15

15

20

20

30

30

40

40

Verona FeaturesVerona Features

master

talk

external

solo in
place

groups

1

1-2

auto

3-4

2

5-6

mute

7-8

mono

stereo

3

aux

matrix

masters

4

pfl

SOLO

monitor

phones

stereo pre

to mono

MUTE MUTE

left

SOLO SOLO

stereo mono

local

0

+10

MUTE

MUTE

insert

MUTE

right

mono

10

10

5

5

0

0

5

5

10

10

15

15

20

20

30

30

40

40

The tape input on the rear of the console can be

0

routed to the main mono or stereo busses by
pressing the Mono or Stereo switches. The level
of the tape input is continuously variable from off
(-inf) to +20dB (the nominal input level is

tape

+10

referenced to -10dB).

Solo - When depressed, the tape input signal is

mono

routed to the stereo AFL and mono PFL busses.

0

+10

master

solo in

place

1

auto

2

mute

3

masters

4

WARNING: Solo in place is a major function and should be used for sound check
ONLY. Please read this information carefully!

Solo in Place - When depressed with a small object (eg. screwdriver or pencil tip), the solo

in place switch causes all active input solos on the console to be exclusively routed to the
main outputs of the console. (i.e. mute all un-soloed inputs).

i.e. If a solo is in place, only those active solos will be heard from the main front of house
speakers. This is a major function worthy of note.

The solo in place function is more at home in studio surroundings where the engineer would
expect only to hear active solos through the monitors. It’s uses in live sound reinforcement
are limited but include:

At sound check, Solo In Place could be used to check or EQ (or adjust insertions,

effects etc.) for one or a number of channels at once without having to turn down or
mute each of the undesired channels (which may upset the onstage monitors an
hence the musicians!).

Auto Mute Masters - The auto mute masters are used to enable the mute groups (1

stereo

SOLO

through 4) as assigned on the input channels.

Again, these switches are a major function worthy of note (i.e. don’t forget that you have them enabled and
the channels assigned or channel mutes will not be released).

Operators Manual - Page 26

Setting up the

Verona

Operators Manual - Page 27

Setting Up The VeronaSetting Up The Verona

The Verona was designed with real world sound engineers in mind, working in the real world. With it’s flexible
routing and dual purpose functionality, the Verona is as happy running monitors as it is front of house. For
engineers that haven’t got a great deal of experience in live sound engineering, here are a few helping guidelines.

Gain

The Verona has two types of input channel; Mono and Multi Function (Stereo) both of also have a mono
microphone input. Gain is provided on these channels to allow the operator to obtain the optimal signal for the
system.

Microphone Gain +15dB to +60dB (0dB to +45dB with pad switch enabled)
Mono Channel Line Gain 0dB to +45dB (-15dB to 30dB with pad switch enabled)
Stereo Channel Line Gain Off to +20dB

Each channel of the Verona includes an in-line channel LED meter indicating the channel level (measured after the
channel insert and EQ but before the channel fader). With the insert and EQ disabled, the in-channel meter will
show the level at the input in four stages:-

-18dB - Signal Present
0dB - Normal operating level
+12dB - High Signal Level
+18dB - 3dB before channel overload (clipping)

The input gain of the channel can be used to obtain the best operating level for the console. Too small a signal level
(too little gain) and the best signal to noise ratio will not be achieved; too high a signal level (too much gain) and
there is the chance of overloading the channel causing distortion.

Clearly, the gain should be positioned between these two points, to gain an optimal signal to noise ratio without
overloading the channel. The ideal level for input channels would be around +6dB with occasional illumination of
+12dB.

Headroom

A channel signal is only permitted to swing high and low by an amount fixed by the power supply. If the maximum
output of the Verona channel strip is +21dBu (0dBu = 0.775 volts RMS) then imagine the following situation:

Headroom is the amount of spare ‘swing’ available to the system. If 6dB headroom was desired at all times, a
maximum level of +15dB is required to retain the headroom.

To prevent overload, the gain must be set to a point that even the highest output from the microphone during
sound check has some headroom left to prevent any surprises during the show!

The consoles Busses (e.g. Left and Right Main buss) are the point where all channel signals are summed together.
In normal operation, it is unlikely that all channels will receive the same signal at the same time so typically when
48 channels are summed together a gain of around 6 to 9dB will be seen. It is important to leave some headroom
in the summing amplifiers so that they do not overload, should the sum exceed the maximum level.

The Effect of EQ

Channel equalisation should be used with care. Boosting or cutting equaliser bands can make monitoring your
actual input level very difficult. Excessive boosting of EQ (+15dB is available on each band)will have the same
effect as applying more gain to the input, taking up valuable headroom. Consider backing off the channel gain
when using large amounts of boost (if you have to use large amounts of boost) to retain a sensible level at the
output.

Excessive EQ cut can have a similarly undesirable effect. If a large amount of signal is cut in the equaliser section,
gain may be used to ‘make up’ the level lost in the equaliser. However, the input pre-amplifier still has the same
amount of available headroom. If gain, added to ‘make up’ the loss in the equaliser, exceeds the maximum level
into the microphone pre-amp then the channel won’t appear to be overloaded but the microphone pre-amp will.
Turning off the equaliser will reveal the true story, whereby the microphone pre-amp may be overloaded. It is
worth considering whether such large amounts of EQ cut is really required, or whether it is being used rather more
as a volume control (in which case the input gain could be set to a normal operating level and the output adjusted
on the channel fader).

TIP: You can monitor the level pre-EQ and post-EQ using the in-channel LED meter by switching the EQ in and out
during sound check.

Operators Manual - Page 28

Setting Up The VeronaSetting Up The Verona

Dynamic Processing

When working with signals that are constantly at a high level, the channel gain can accommodate these signals
with ease. When working with varying signals (such as the vocalist discussed earlier) it may be desirable to reduce
the dynamic range of the signal so that the loud parts aren’t so loud (and don’t overload your channel input) and
the quiet bits aren’t too quiet (so the signal to noise ratio would be increased).

Limiters and Compressors have a similar function which is to reduce the dynamic range of a signal. The means by
which they do this won’t be discussed here but, these devices have the ability to reduce the level of loud signals
automatically and also raise the gain to ‘make up’ the level as desired. The channel gain can now be set with
adequate headroom to accommodate both loud and quiet signals and the compressor can reduce the dynamic
range and ‘make up’ any reduction in level. By inserting such a device into the channel’s insert point you have the
ability to remove the guesswork from setting your system gain.

However (and this is a big however), there are still sources of potential problems. The Verona is able to operate at
levels up to +21dBu on both the insert send and return. If the maximum input level of the compressor was less
than +21dBu then it is possible to overload the input of the compressor. The only way to resolve this situation
would be to drop the channel input gain so that the input level of the compressor was not being overloaded. Bear
in mind however, the level returned from the compressor would also be lower than +21dBu and excessive use of
the compressor ‘make up’ gain would overload the output of the compressor!

Unity Gain

Unity gain is a gain of 1 (i.e. no gain or attenuation is applied to a signal).

If a signal entered a mono line level input of the Verona at 0dBu and the gain was set to +15dB (an internal 15dB
attenuation sets the net gain to 0dB), then the signal was routed to each output at 0dB, the channel fader was set
to 0dB and each output fader was set to 0dB, the output should be 0dBu (or unity). Some console manufacturers
mark the 0dB level of their faders and pots ‘U’.

Simple. But that’s just one signal. If we have two 0dBu signals entering the Verona to be summed in the busses,
the output would no longer be 0dBu.

Simply,

To retain an output of 0dBu (our previous unity level) each input must be reduced.

So each fader must be reduced to -6dB to retain the unity gain level of 0dBu on the console output. When using
four inputs at 0dBu, the faders must be reduced to -12dB. Real life signals are not continuous, but the principal is
the same. If you have a sinusoidal input that is nominally 0dBu on all 48 inputs with the channel faders at 0dB, the
output is likely to be well above the 21dBu maximum output of the console and leave no headroom spare. With
real world signals, 48channels summed together will give around 6 to 9dB gain because it is unlikely that all 48
channels will receive the same signal at the same time. Instead signals will occur at different times, and there will
be cancellation due to phase and frequency differences.

0dBu = 0.775 volts

0.775 volts + 0.775 volts = 1.55 volts

1.55 volts is 0.775 volts +6dB (or a gain of 2)

0.775 volts / 2 = 0.3875 volts

0.3875 volts is 0.775 volts -6dB (or a gain of 1/2)

Operators Manual - Page 29

Setting Up The VeronaSetting Up The Verona

Signal Processing and Amplifiers

The final links in the system tend to be graphical equalisers, loudspeaker processors and finally amplifiers and
speakers.

Graphical equalisers have the same problems as the Verona’s EQ. If excessive boost is applied to the signal, the
graphic equaliser’s output may be overloaded. If, the output of the Verona is higher than the maximum input level
of the graphic, the input of the graphic may be overloaded.

Loudspeaker processors have similar problems. If the input level to the processor is too high, the input may be
overloaded and introduce distortion into the outputs (and to the speakers!). In addition to this, any boost on the
processors outputs (say you want 3dB more bass) will cause that output to overload earlier (in this case 3dB
before the other outputs).

Finally, amplifiers can introduce the most interesting results.

An amplifier has a sensitivity. That is, an input signal level that causes the amplifier to produce it’s maximum
output level. For many amps this is 0dBu (0.775 volts RMS), others use 0dBV (1 volt RMS) others use different
levels. Beyond this sensitivity, the amplifiers output will not be able to produce any more power and ‘CLIP’
(usually indicated by some serious looking red lights). Sending +21dBu level from the Verona will clip the output
of the amplifier causing damage to your loudspeaker system.

There are a number of solutions to this problem:

Reduce the amplifiers input attenuators to a level where the amplifier and console clip at the same point.

e.g. The input sensitivity is 0dBu, setting the input attenuator
on the amplifier to -21dB would mean that the console would clip
at the same time as the amplifier. So operating the console sensibly
the amplifier should never be clipped. The console led Meters will also accurately show
the available headroom left in the entire system.

-21dB may not be a sensible level to set as many operators choose not
to run the output of the console so high. That is personal choice.

Run the output of the console at a level below 0dBu

This solution means that you won’t get full benefit of the console, and may
suffer a reduced signal to noise ratio. But the amplifiers should be saved from
clipping.

As with many things in the audio world, use your ears. If something sounds distorted check:

Input Gain too high? (lower input gain and check)
EQ Too Much Boost? (disable eq and check)
EQ Too Much Cut coupled with a High Input Gain? (disable eq and check)
Too High a level into Inserted Processor? (disable insert and check)
Clipping Loudspeaker controller or Amplifiers (Check CLIP lights on amps etc.)

Operators Manual - Page 30

group

aux
c/o

group
to mtx

mono

Setting Up The VeronaSetting Up The Verona

Routing

The flexible routing of the Verona allows the console to operate as both a Front of House (FOH) and Monitor
console, or as a combination of both. For operators that haven’t got a great deal of experience, here are a few
helping guidelines.

aux

Front of House Mode

pre

group 1

pre

The group aux changeover switch on each group should be released (i.e. off) so that the group fader controls the

fade

group buss signal.

stereo

c

Uses for groups vary, but include:

l r

pan

MUTE

group 1

SOLO

aux 1

master

s i s

10

5

0

5

10

15

20

30

40

Submixes

Submixes are a common way of saving time (and possibly embarrassment) when using a large
number of microphones at once. For example: Multiple Microphones for Choirs, Drum
Kits/Percussion, Orchestras, etc . . .

The channel to be submixed should be routed to the group and any aux sends ONLY (i.e. not to the
master L-C-R). The fader is, as normal, used to set the relative level between the channels in the
submix. The group chosen for the submix should then be routed to the master L-C-R and panned as
required.

The submix is now set up. The group level can be used to control the overall level of the channels
(retaining their relative levels), mute the submix output or solo the submix signal.

Note: Muting the submix is not the same as muting the channels. Aux sends and other group sends
will remain active. If channels in a submix are required to be muted, use the automute facility.

Common EQ/Processing

Often, it is either too expensive or undesirable to apply processing to each channel individually (for

example: compression on a whole choir, graphic eq on a number of microphones, etc...). Setting up
a submix as above, the signal is grouped together. Now the desired processor can be inserted into
the group inserts applying the process to all of the submix channels (in their relative levels).

Alternative Outputs

example:, you were mixing a number of speakers in a venue and each needed a different level and
processing.

Route the desired channels to any group or master output as necessary. Make sure the group is not
routed to the main outputs. The group outputs should be wired into the necessary amplification and
the insert points into any necessary processing (e.g. delay, EQ, etc...).

The levels are now individually controllable.

group

aux

c/o

0

+10

MUTE

SOLO

aux

pre

Monitor Mode

The group aux changeover switch on each group should be depressed (i.e. on) so that the group fader controls the
aux buss signal.

Channel signal should be sent to the auxiliary as required and the aux sends should usually be
configured to pre-fader. The console group output sockets should be wired into the necessary
amplification and the insert points into any necessary processing (e.g. EQ, etc...).

The monitor levels are now individually controllable on the group faders.

Dual FOH/Monitor Mode

The group aux changeover switch on each group should be depressed (i.e. on) so that the group fader controls the
aux buss signal for monitors or released (i.e. off) so that the group fader controls the group buss signal for FOH.
The usage in this split mode can be any combination of the above!

Note: When the group aux changeover switch is depressed, control over the groups is performed by
the auxiliary controls and hence, and group outputs may still be used. Submixes could be used by
connecting the auxiliary output sockets on the rear of the console to four unused stereo input
channels and routed to the Left and Right master busses.

Operators Manual - Page 31

Functional

Block Diagrams

Operators Manual - Page 33

direct out

0

12

18

-18

pfl meter

group 7 bus

group 5 bus

group 3 bus

aux 7 bus

aux 8 bus

aux post 1 bus

aux post 2 bus

aux post 3 bus

aux post 4 bus

aux post 5 bus

aux pre 2 bus

aux pre 3 bus

aux pre 4 bus

aux pre 1 bus

eq

on

0

0

0

+6

20k

treble

2k

5k 10k

-15 +15

3k

8k

hi-mid

1k

400

-15 +15

equaliser

2k

lo-mid

300 1k

100

-15 +15

+15

200

bass

20

50 100

-15

+6

aux 1

aux 2

aux 3

aux pre 5 bus

0

0

+6

+6

aux 4

aux post 6 bus

aux pre 6 bus

0

+6

+60+6

aux 5

aux 7

aux 6

left bus

0

+6

aux 8

mono

stereo

s i s

master

right bus

mono bus

grp 3 grp 5 grp 7

grp 1

pan

groups

group 1 bus

group 8 bus

group 6 bus

group 4 bus

grp 6 grp 8

grp 4

grp 2

SOLO

pfl bus

right solo bus

left solo bus

group 2 bus

insert

direct option

send

return

insert

pre

aux 7

hi-pass

160

400

20

hi-pass

filter

60

/

mic O

pre

aux 8

aux 7&8 pre option

-

phase

reverse

+60+15

mic gain

+30 +45

-15

pad

off

eq

aux pre

5

10

pre eq

line in

phantom

-15

48v

power

MUTE

L

c

pan in stereo mode

+10dB

0

post eq

L

R

pan

l r

R

C

cc

pan pan

ll rr

pan in sis mode

5

20

40

10

30

15

BLOCK DIAGRAM

solo logic

mute 1

mute 2

mute 3

mute 4

VERONA MONO INPUT MODULE

mic

automute 1 bus

automute 2 bus

automute 3 bus

solo on bus

automute 4 bus

solo in place bus

Operators Manual - Page 34

pfl bus

right solo bus

group 7 bus

group 5 bus

group 3 bus

aux 7 bus

aux 8 bus

aux post 1 bus

aux post 2 bus

aux post 3 bus

aux post 4 bus

aux post 5 bus

aux pre 2 bus

aux pre 3 bus

aux pre 4 bus

aux pre 1 bus

aux pre 5 bus

aux post 6 bus

aux pre 6 bus

mono bus

right bus

left bus

group 1 bus

group 8 bus

left solo bus

group 6 bus

group 4 bus

group 2 bus

0

0

+6

aux 1

aux 2

0

0

+6

aux 3

0

+6

+6

aux 5

aux 4

0

+6

0

+6

aux 6

0

+6

+6

aux 7

aux 8

grp 6 grp 8

pre

aux 7

pre

aux 8

0

12

18

-18

BLOCK DIAGRAM

pfl meter

eq

on

mono

stereo

VERONA MULTI FUNCTION INPUT MODULE

+15

treble

-15

insert

send

return

insert

equaliser

hi-pass

80Hz

8k

3k

hi-mid

600

1k5

-15 +15

1k2

500

lo-mid

100

300

-15 +15

off

eq

+15

bass

-15

aux pre

10

aux 7&8 pre option

grp 3 grp 5 grp 7

grp 1

Pan

groups

L

R

c

pan

l r

+10dB

5

+10dB

0

5

grp 4

grp 2

SOLO

20

40

10

30

15

/

mic O

-

reverse

phase

+60+15

mic gain

+30 +45

-15

pad

48v

power

phantom

line in L

mic

wide

5k

stereo

image

mono

+20

0

line gain

line in R

pre eq

MUTE

post eq

post eq

solo logic

mute 1

mute 2

mute 3

mute 4

solo on bus

automute 1 bus

automute 2 bus

automute 3 bus

automute 4 bus

solo in place bus

Operators Manual - Page 35

aux out 1

group 1

pfl bus

right solo bus

left solo bus

matrix 1

solo on bus

right bus

left bus

mono bus

SOLO

aux

SOLO

group

SOLO

matrix

SOLO

dir input

mono

stereo

s i s

master

L

c

L

R

C

cc

pan

l r

pan in stereo mode

+21

+18

+15

+12+9+6+30-3-6-9-12

-15

-18

-21

-24

group meter 1

R

pan pan

ll rr

pan in sis mode

mtx

meter source select

aux

stereo

mono

+10dB

0

5

10

5

20

40

10

30

15

BLOCK DIAGRAM

MUTE

+10dB

0

insert G1

+10

aux 1

c/o

aux

group

pre

aux

aux pre 1 bus

aux post 1 bus

MUTE

group

to mtx

return

send

pre

fade

+10dB

MUTE

0

+10

matrix 1

0

0

0

0

0

0

0

0

0

0

+6

+6

+6

+6

+6

+6

+6

+6

group 1

group 1 bus

group 1-matrix

group 2-matrix

group 3

group 2

group 3-matrix

group 4-matrix

group 5

group 4

group 5-matrix

group 6-matrix

group 7

group 6

group 7-matrix

group 8-matrix

+6

group 8

mono-matrix

0

+6

+6

left master

mono master

left-matrix

right master

right-matrix

VERONA GROUP/MATRIX MODULE

mtx

direct

input to

+20dB

+20

0

direct

direct in 1

talk-matrix

Operators Manual - Page 36

master L

master R

master C

solo on bus

solo in place bus

place

solo in

automute 1 bus

auto

mute

masters

automute 2 bus

automute 3 bus

automute 4 bus

pfl out

phones

monitor L

monitor R

MUTE

SOLO

stereo

1

SOLO

2

mono

3

SOLO

4

MUTE

0

phones

MUTE

+10

0

+10

local

monitor

tape

(dim)

-20dB

-20dB

right

master meters

+21 +21 +21

+18 +18 +18

0 0 0

-3 -3 -3

+15 +15 +15

+12 +12 +12

-6 -6 -6

+9 +9 +9

+6 +6 +6

+3 +3 +3

-9 -9 -9

center

-12 -12 -12

-15 -15 -15

-18 -18 -18

-21 -21 -21

-24 -24 -24

left

right

pfl

solo meters

+21 +21 +21

+18 +18 +18

+15 +15 +15

+12 +12 +12

+9 +9 +9

+6 +6 +6

+3 +3 +3

0 0 0

-3 -3 -3

-6 -6 -6

left

-9 -9 -9

mono bus

mono

aux post 1 bus

aux post 2 bus

aux post 3 bus

aux post 4 bus

aux pre 2 bus

BLOCK DIAGRAM

MUTE

left

VERONA MASTER MODULE

MUTE

right

+10dB

MUTE

mono

+10dB

+10dB

left bus

0

5

10

5

left

20

40

30

10

15

stereo

aux pre 1 bus

right bus

aux pre 3 bus

group 2 bus

grp 4

grp 2

aux post 5 bus

aux pre 4 bus

aux pre 5 bus

aux pre 6 bus

group 6 bus

group 4 bus

grp 6

pfl

SOLO

-12 -12 -12

-15 -15 -15

-18 -18 -18

-21 -21 -21

-24 -24 -24

pfl bus

left solo bus

aux post 6 bus

aux 7 bus

aux 8 bus

left bus

group 8 bus

stereo

right solo bus

right bus

talk-matrix

matrix

left

0

5

10

5

20

40

30

10

15

right

0

5

10

5

20

40

30

10

15

+20dB

0

+20dB

+20

tape

group 1 bus

Grp 1

grp 3

group 5 bus

group 3 bus

grp 5

grp 7 grp 8

mono bus

group 7 bus

mono

aux

talk out

mono

talk

returnsend

insert ML

insert MR

returnsend

insert MC

returnsend

L

R

tape out tape in

stereo

to mono

left bus

right bus

pre

insert

mono bus

on

talk

external

+15 +60

12

+48V

phantom

3

talk

mic

talk in

0

+10

generator

on

5k

500

freq

OSC

50

150

Operators Manual - Page 37

Dimensions and

Weights

Operators Manual - Page 39

Dimensions and Weights

Operators Manual - Page 40

Specification and

Features

Operators Manual - Page 41

Verona FeaturesVerona Features

The following list of features is based upon the thirty-two channel frame size console.

The thirty-two channel Verona features:

24 mono input channels
8 stereo input channels
8 Auxiliary Outputs

1 through 6 with Global Pre/Post Fader selection and selectable Pre/Post EQ
7 & 8 with Channel selectable Pre/Post Fader selection and jumper selectable Pre/Post EQ
For jumper selection configurations, contact you local Midas service agent.

8 Group Outputs

With Aux/Group Changeover option for dual purpose FOH/Monitor applications

4 Band Equaliser

Mono Channels: 4 Swept Frequency Bands (Treble, Hi Mid, Lo Mid, Bass)
Stereo Channels: 2 Shelving Bands (Bass, Treble), 2 Swept Frequency Bands (hi mid, lo mid)

48 volt phantom power independantly switchable on each channel (always on talk mic)
Hi-Pass filter on all inputs (Mono Channels: Variable 20Hz to 400Hz, Stereo Channels: Fixed 80Hz)
Signal Generator
32 Channel Inserts (jumper selectable pre/post insert and eq)

Type Connector Impedance Balanced Level Nom (max) No.

Inputs Microphone XLR(f) 1k5 ohm Yes Variable (+21dBu) 32

M Ch Line Input 1/4” TRS Jack 10k ohm Yes Variable (+36dBu w/pad) 24
MF Ch Line Input 1/4” TRS Jack 10k ohm Yes Variable (+26dBu) 16
Direct Input 1/4” TRS Jack 10k ohm Yes Variable (+26dBu) 4
Tape Input RCA Phono 47k ohm No -10dBu (+26dBu) 2
Talk Mic XLR(f) 1k5 ohm Yes Variable (+6dBu) 1
Talk Input XLR(f) 10k ohm Yes 0dBu (+26dBu) 1

Outputs Direct Out 1/4” TRS Jack 100 ohm Impedance Bal. 0dBu (+21dBu) 24

Groups XLR(m) 50 ohm Yes 0dBu (+21dBu) 8
Auxiliary XLR(m) 50 ohm Yes 0dBu (+21dBu) 8
Matrix XLR(m) 50 ohm Yes 0dBu (+21dBu) 4
Talk Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 1
Master Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 3 (LCR)
Monitor Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 2 (LR)
PFL Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 1 (M)
Tape Out RCA Phono 600 ohm No -10dBu (+11dBu) 2
Headphones 1/4” TRS Jack To drive headphones > 100 ohm +10dBu (+21dBu) 1

Inserts Input 1/4” TRS Jack 50/10k ohm (s/r) No 0dBu (+21dBu) (send/ret) 32

Group 1/4” TRS Jack 50/10k ohm (s/r) No 0dBu (+21dBu) (send/ret) 8
Master 1/4” TRS Jack 50/10k ohm (s/r) No 0dBu (+21dBu) (send/ret) 3

Total XLR input count 34
Total Jack input count 44
Total RCA Phono input count 2

Total XLR output count 27
Total Jack output count 25
Total RCA Phono output count 2

Total insert count 43

XLR

1

3

PUSH

2

Pin 1 - Screen/Ground
Pin 2 - Hot Signal

2

1

Pin 3 - Cold Signal

3

Note: Sockets are viewed from the front

RCA (Tape In/Out)

Centre (Tip) - Signal
Surround (Sleeve) - Screen

face.

Quarter Inch Jack

TRS Signal TRS Insert TRS Headphone

Sleeve Screen/Ground Screen/Ground Screen/Ground
Ring Cold Signal Insert Return Right
Tip Hot Signal Insert Send Left

Operators Manual - Page 42

Verona SpecificationVerona Specification

Internal Power Supply

Type Switching
Line Voltage 90 - 240V AC
Line Frequency 50/60Hz

Input Impedance

Microphone 1k5 ohm Balanced
Line 10k ohm Balanced

Input Gain (all faders at 0dB)

Microphone Continuously variable from +15dB to +60dB
Microphone + Pad Continuously variable from 0dB to +45dB
Mono Channel Line Continuously variable from 0dB to +45dB

Stereo Channel Line Continuously variable from off to +20dB
Direct Inputs Continuously variable from off to +20dB

Maximum Input Level

Mic +6dBu
Mic + Pad +21dBu
Mono Channel Line +21dBu (+36dBu pad enabled)
Stereo Channel Line +26dBu

CMR at 100Hz

Microphone (Gain +40dB) Typ 95dB
Microphone + Pad (Gain 0dB) Typ 80dB
Line (Gain 0dB) Typ 80dB

CMR at 1kHz

Microphone (Gain +40dB) Typ 95dB
Microphone + Pad (Gain 0dB) Typ 80dB
Line (Gain 0dB) Typ 80dB

(-15dB to +30dB Pad enabled)

Frequency Response (20Hz to 20kHz)

Noise 20Hz to 20kHz
Microphone EIN ref. 150 ohms (Gain +60dB) -129dBu

System Noise (20Hz to 20kHz)

Distortion at 1kHz

Crosstalk at 1kHz

Output Impedance

Microphone to Mix +0 to -1dB

Summing Noise (48 channels
routed with faders down) -80dB

Line to Mix Noise (48 channels
routed at 0dB, pan centre) -75dB

Microphone to Mix (Gain +40dB,
0dBu output) <0.03%

Channel to Channel < -90dB
Mix to Mix < -90dB
Channel to Mix < -90dB
Max. Fader Attenuation > 100dB
Max. Mute Attenuation > 100dB

All Line Outputs 50 ohms Balanced Source to drive > 600 Ohms
Tape Output 600 ohms unbalanced
Direct Output 100 ohms impedance balanced
Insert Output 50 ohms unbalanced
Headphones to drive > 100 ohms

Maximum Output Level

All Line Outputs +21dBu
Headphones +21dBu

Nominal Signal Level

Microphone -60dBu to 0dBu
Line 0dBu
Headphones +10dBu

Operators Manual - Page 43

Verona SpecificationVerona Specification

Equalisation

Mono Hi-pass slope 12dB/octave
Channels Treble Band Cut/Boost +/-15dB

Frequency range 2kHz to 20kHz

Hi Mid Band Cut/Boost +/-15dB

Lo Mid Band Cut/Boost +/-15dB

Bass Band Cut/Boost +/-15dB

Stereo

Channels Frequency (-3dB) 12kHz

External Power Supply (option)

Treble Band Cut/Boost +/-15dB

Hi Mid Band Cut/Boost +/-15dB

Lo Mid Band Cut/Boost +/-15dB

Bass Band Cut/Boost +/-15dB

Connection 6 Pin Male XLR

Frequency range 400Hz to 8kHz
Bandwidth 1 Octave

Frequency range 100Hz to 2kHz
Bandwidth 1 Octave

Frequency range 20Hz to 400Hz

Frequency range 600Hz to 8kHz

Bandwidth 1 Octave

Frequency range 100Hz to 1.2kHz

Bandwidth 1 Octave

Frequency (-3dB) 100Hz

Pin 1 0V A
Pin 2 +18V A
Pin 3 -18V A
Pin 4 +12V L
Pin 5 +48V
Pin 6 0V L
Case Chassis

Due to a policy of continual improvement, Midas reserves the right to alter the specification and performance at any time without prior notification.

Operators Manual - Page 44

Crib Sheet Mono InputCrib Sheet Mono Input

Notes:Notes:

Multi Function Input

Multi Function Input

Notes:Notes:

Crib Sheet

Crib Sheet

SERVICE

INFORMATION

Service Manual – Page 2

CONTENTS

Modules and PCB's

1. IDENTIFICATION...................................................................................6

1.1. Modules and PCBs...............................................................................................6

1.2. Power Supply.....................................................................................................8

2. DISASSEMBLY & REASSEMBLY INSTRUCTIONS ................................................9

2.1. Removing Complete Modules................................................................................9

2.2. Removing Module PCBs .....................................................................................13

2.3. Removing the Power Supply Units....................................................................... 15

2.4. Disconnecting Ribbon Cables..............................................................................16

3. INPUT MODULES, PRE AND POST EQ OPTIONS.............................................17

3.1. Mono Input Module Aux 7 and 8 .........................................................................17

3.2. Mono Input Direct Output ..................................................................................17

3.3. Multifunction Aux 7 and 8 ..................................................................................18

V0001 Mono Input Module (Parts List, Front Panel Parts)
V0001 -02 Mono Input PCB (Schematics, Overlay & Grid Location Table, Parts List)
V0003 -01 Mono Fader PCB (Schematics, Overlay, Grid Location Table, Parts List)
V0002 -01 Mono Input Connector (Schematics, Overlay, Parts List)
V0004 Multifunction Input Module (Parts List, Front Panel Parts)
V0004 -02 Stereo Input PCB (Schematics, Overlay & Grid Location Table, Parts List)
V0006 -01 Stereo Fader PCB (Schematics, Overlay & Grid Location Table, Parts List)
V0005 -01 Stereo Input Connector (Schematics, Overlay, Parts List)
V0011 Output Module ( Parts List, Front Panel Parts)
V00011-02 Output PCB (Schematics, Overlay & Grid Location Table, Parts List)
V00013-01 Output Fader PCB (Schematics, Overlay & Grid Location Table, Parts List)
V0012 -01 Output Connector (Schematics, Overlay, Parts List)
V0010 Power Distribution Board (Schematics, Overlay, Parts List)
V480 Chassis Assembly (Parts Lists)

Service Manual – Page 3

Service Manual – Page 4

Modules and PCB's

Service Manual – Page 5

Modules and PCB's

Output

Module V0011

Mono Input

Multifunction Input

01001

1. IDENTIFICATION

1.1. Modules and PCBs

The Verona Console contains three main types of module, as detailed below.

Module Type PCB make-up Connectors

Mono Input V0001 V0001-02 Mono Input

V0003-01 Mono Fader

Multifunction Input V0004 V0004-02 Stereo Input

V0006-01 Stereo Fader

Output V0011 V0011-02 Output

V0013-01 Output Fader

The modules, PCBs and connectors are identified in the following photoraphs. Instructions for
removing the fascias and modules are provided in Section 2.

Module V0001

V0002-01

V0005-01

V0012-01

Module V0004

Module Identification

Service Manual – Page 6

Modules and PCB's

Mono Input

02

Mono Fader

Stereo Input

Stereo Fader

Output

Output Fader

V0011-02

V0001-

V0003-01

V0004-02

V0006-01

V0013-01

PCB Identification (view with fascias removed)

Service Manual – Page 7

Modules and PCB's

Output

Stereo Input

Mono Input

Power Supply Units

Power Distribution Board

V0012-01

Module Connector Identification (view with main

input and output module chassis removed)

V0005-01

V0002-01

1.2. Power Supply

The Verona Console is fitted with two Power Supply Units. These, and the associated Power
Distribution board, are located within the main console housing beneath the Mono Input and
Output modules, as identified below. Instructions for removing the modules are provided in
Section 2.

P175

Power Supply Identification (view with main

input and output module chassis removed)

Service Manual – Page 8

V1010

Modules and PCB's

screw locations

2. DISASSEMBLY & REASSEMBLY INSTRUCTIONS

2.1. Removing Complete Modules

Note To remove a module or the associated PCBs you must first remove the fascias of

the modules to the right and left, so that the interlinking ribbon cables can be
detached.

For servicing of Modules or access the power supply, the Verona Console is disassembled as
follows:

1 Remove the Verona side cheek(s).

Use a T15 Torx bit to unscrew the 5*Cap­lock screws and 1* M4 Torx Head screw
shown right.

Screw
located on
reverse
side

2 Remove the top trim.

Use a T10 Torx Driver to remove the fixing
screws located on the underside of the
console rim then, as shown right. The
number of fixing screws is dependent on
the frame size. Lift the trim off in an
outward and upward direction.

3 Remove the Fader knobs from the fascia.

This enables the fasica to be lifted off.

4 Remove the fascia securing screws.

Loosen the 8*Torx T10 by 6mm Countersunk
screws on each fascia located as shown right.

Lift trim in
direction
of arrow

Fascia securing

Service Manual – Page 9

Modules and PCB's

Talk Back XLR

Connector

5 Lift the fascia off.

Lever the fascia from the top edge as shown right
(inset). Important! - For the Output module,
disconnect the Talk Back XLR Molex connector as
you lift the fascia.

6 Disconnect the ribbon cables between PCBs.

The Lumberg ribbon cables must be carefully
disconnected using the customised Lumberg
Removal tool. Please refer to separate instructions
at Section 2.4.

Lumberg
Ribbon
Connectors
linking PCBs

7 Remove module securing screws, as follows

• M3 by 10mm (Torx T10) screw(s) on the
module face - input modules have a single
securing screw half-way down the left-hand
edge, while the output module has one
either side. The remaining M3 screws fix
the PCBs to the module housing.

• M4 by 6mm (Torx T15) on the rear above
the Insert Jack’s (upper photo).

• M4 by 6mm (Torx T15) on the front, below
the armrest (lower photo). On some frame
sizes, there is also an M4 x 10mm (Torx
T10) screw to remove.

M4 by 6mm
securing
screws

Service Manual – Page 10

Modules and PCB's

The Molex connector on

the left goes to PSU 2.

The other goes to PSU 1

8 Disconnect headphone socket and

power loom (Output module only).

Lift output module from the fader end
approximately 5 cm to expose headphone
socket. Disconnect.

Lift Output module slightly further to expose
power loom. Cut cable tie holding the loom
to the chassis. Disconnect.

9 Disconnect ribbon cables to connector PCB.

Working in turn, lift the output/input modules from the fader
end to expose ribbon connectors beneath panel, as shown
right. Disconnect the ribbon cables.

Headphone
connection

Power
loom

Unplug
ribbon
connections

10 Lift out module(s).

Remove all Nuts

To remove the Input Connector PCB(s)

and washers.

(e.g. when swapping modules around)

1 Remove all the XLR screws (16 off)
2 Remove all of the ¼ inch, Jack socket nuts
3 Remove the Jack socket washers (located behind

the jack nuts).

4 Lift out the input connector PCB from the chassis.

Remove all XLR
Screws

Note Each input connector board handles 8 channels. The mono and multifunctional

connector pcb(s) are the same pcb but with different components fitted. For details of
the component differences, see the V0002 Mono Input connector PCB schematics.

Service Manual – Page 11

Modules and PCB's

ribbon

g

socket nuts and

To remove the Output Connector PCB

1 Remove all XLR securing screws (56 off).
2 Remove the screw in the middle of the phono

connectors.

3 Remove the ¼ inch jack socket nuts (15 off).
4 Remove all the jack socket washers, located

behind the nuts (15 off).

5 Lift out the output connector from the chassis.

XLR securin

screws

To refit the modules reverse the removal process, as follows:

(Refer to photographs in removal section, as required)
1 Refit input connectors, ensuring that all screws are fully tightened.
2 Set the module(s) onto the chassis.

Phono Connector
securing screw

¼ inch jack
washers

3 With module partially lifted, reconnect ribbon cables to connector PCB.

! Take care not to bend metal contacts.

4 On output module, reconnect headphone socket and power

loom.

5 Replace and tighten the module securing screws.
6 Reconnect and dress the ribbon cables between PCBs as shown

right.

7 Replace the fascia, remembering to reconnect the Talk Back

connector on the Output module.
! Take care not to trap or bend LEDs; if they become bent,

Correctly dressed

use long nose pliers to gently straighten them.

8 Replace and tighten the fascia(s) securing screws. To ensure correct seating, fix the

screws on the left and right edges first, then fix the top and bottom.

9 Replace the Fader knobs.
10 Replace the top trim.
11 Replace the Verona side cheek(s).

Service Manual – Page 12

Modules and PCB's

(2 rows)

2.2. Removing Module PCBs

2.2.1 Mono and Multifunction Modules

The input/multifunction module chassis holds two PCBs, as follows:

• Upper - Mic pre-amp and EQ sections

• Lower - Fader and aux send sections

To remove the upper PCB:
1 Work through Steps 1 – 5 of Section 2.1, i.e. to

the removal of the module fascia.

2 After lifting of the fascia, remove the 2*M3 by

10mm stand offs and the 7*M3 by 6mm screws
securing the Upper PCB to the Input Module
(located as shown right).

3 Disconnect the ribbon cables linking to the lower

PCB and the ribbon cables at the top linking to the
Connector Module.

4 Lift out the PCB.

To remove the lower PCB:
1 Work through Steps 1 – 5 of Section 2.1, i.e. to

the removal of the module fascia.

2 After lifting of the fascia, remove the 2*M3 by

10mm stand offs and the 12*M3 by 6mm screws
securing the lower PCB to the Input Module
(located as shown right).

3 Disconnect the ribbon cables linking to the upper

PCB and the ribbon cables along the sides linking
to adjacent modules.

Securing screws

Standoffs, one

either side of PCB

4 Lift out the PCB.

Securing screws

(3 rows of 5, 2 and 5)

To replace the PCB(s):
1 Set the PCB(s) into the chassis taking care not to trap the ribbon cables.
2 Reconnect and dress the ribbon cables taking care not to bend the metal contacts (refer

to photo in Section 2.2).

3 Replace and tighten the securing screws and stand offs.

Service Manual – Page 13

Modules and PCB's

Securing screws (4 rows)

2.2.2 Output Module

The output module chassis holds two PCBs, namely:

• Upper - Matrix Outputs and Group Meters

• Lower - Fader and Aux section

To remove the upper PCB:
1 Work through Steps 1 – 5 of Section 2.1, i.e. to the

removal of the module fascia.

2 After lifting of the fascia, remove the 2*M3 by 10mm

stand offs and the 19*M3 by 6mm screws securing the
Upper PCB to the Input Module (located as shown right).

3 Disconnect the ribbon cables linking to the lower PCB

and the ribbon cables at the top linking to the Connector
Module.

4 Lift out the PCB.

Securing screws (4 rows, plus

screw on far side)

To remove the lower PCB:
1 Work through Steps 1 – 5 of Section 2.1, i.e. to the

removal of the module fascia.

2 After lifting of the fascia, remove the 2*M3 by 10mm

stand offs and the 23*M3 by 6mm screws securing the
lower PCB to the Input Module (located as shown right).

3 Disconnect the ribbon cables linking to the upper PCB

and the ribbon cables along the sides linking to adjacent
modules.

4 Lift out the PCB.

To replace the PCB(s):
1 Set the PCB(s) into the chassis taking care not to trap the ribbon cables.
2 Reconnect and dress the ribbon cables taking care not to bend the metal contacts (refer

to photo in Section 2.2).

3 Replace and tighten the securing screws and stand offs.

Note Early consoles have an extra screw location on the top edge to the right of the

second ribbon connector (from left). Do not use this when refitting the PCB, as it will
interfere with replacing the fascia.

Service Manual – Page 14

Modules and PCB's

Internal fixing

External Fixing Sc

rews

2.3. Removing the Power Supply Units

The Verona Console is fitted with two PSUs, located within the console housing beneath the

central Input and Output modules.

To remove a PSU:
1 Remove all modules as described in Section 2.1 to gain access to the inside of the

console.

2 Disconnect the Output wiring loom.
3 Using a T15 Torx bit, remove the 2*M4 by 6mm internal fixing screws (shown below left).
4 Using the T15 Torx bit, remove the 3*M4 by 6mm external fixing screws on the console

rear panel (shown below right).

5 Lift out the PSU.

screws

To refit a PSU:
1 Seat the PSU in position and replace the 3 external and 2 internal fixng screws.
2 Reconnect the power loom.

Service Manual – Page 15

Modules and PCB's

Female

Tab header

distinguished by black

2.4. Disconnecting Ribbon Cables

The Verona console uses ribbon cables with Lumberg connectors for most of the

interconnections between PCBs. As shown below, the ribbon cable is connected as follows:

• A male connector on one end of the ribbon cable is soldered onto the first PCB.

• A female connector on the other end of the cable connects to Tab Header which is

soldered onto the second PCB. Two black plastic uprights of different size on the Tab
Header control the orientation and secure the connector in place.

connector

Soldered
in male
connector

Female end is

plastic uprights

Note To avoid damage to the black uprights or to the cable, we recommend that the

custom Lumberg Removal tool is used to disconnect the ribbon cables

To disconnect a ribbon cable:
1 Place the custom Lumberg Tool over the

tab header and connector, as shown
below.

2 Squeeze the two prongs together,

positioning the right angle grips at the
bottom of the tool beneath the white
plastic ridges on the connector.

3 Once the connector is gripped, pull up to

unlatch the female connector from the Tab
header.

To reconnect a ribbon cables:
1 Fit the female connector to the tab header.
2 Dress the ribbon cable as shown right.

Service Manual – Page 16

Modules and PCB's

Place jumper on upper

Place jumper on lower

Place jumper on top pins

for post EQ (shown) or the

lower pins for pre EQ.

3. INPUT MODULES, PRE AND POST EQ OPTIONS

3.1. Mono Input Module Aux 7 and 8

The console operator can switch Input Aux Sends 1- 6 to pre or post EQ using the global Aux

Pre button on the Verona Aux Output panel. To enable the Operator to use a mix of pre and

post aux sends, Aux 7&8 are not linked to the global Aux Pre button. Instead, they are

internally set to pre or post EQ by moving the jumper on the lower PCB of the Mono

Input/Multifunction module as shown below.

pins to select Pre EQ

pins to select Post EQ

3.2. Mono Input Direct Output

The Direct Output on the Mono Input Module can be set to Pre or Post EQ by moving the

internal jumpers, as shown below.

Service Manual – Page 17

Modules and PCB's

Place jumper on top pins for

switchable EQ or bottom

3.3. Multifunction Aux 7 and 8

As for the Mono Input channels, the Multifunction Channel Aux Sends 1- 6 are switched

between pre and post EQ using the global Aux Pre button on the Aux Output panel, while Aux

7 and 8 are set separately via internal jumpers on the lower PCB. In this case, however, the

choice is either Pre/Post switchable (i.e. linked to Aux 1-6) or Post EQ (unlinked). The

jumper positioning is indicated below.

pins to set post EQ.

Service Manual – Page 18

Verona Component location

Component Location Using the Verona

PCB Screen Print

The top and bottom of the Verona PCBs have a grid system screen printed along the edges of

the board. This grid is numbers Vertically and has letters Horizontally. If you need to locate a

specific component it can be done quickly in the following manner:

1 – Locate the identification of the part you wish to find on the board from the schematics

i.e. The phantom switch of channel 7 on the V0001 board, this is marked
S7021 on page 21 of the schematics.

2 – Go to the Identification table and look up the part identification and note if the part is

located on the top or bottom of the pcb. Then note the grid reference locator.

i.e. S7201 is located on the Top of the V0001-01 board and is in grid reference
H10

3- Go to the Board overlay and using the markings along the edge and the grid reference

obtained and locate the part.

Service Manual

V0001MonoInput Module

Front Panel Overlay-

V0001Parts List-

Description

Part Identifier

Quantity

Reference Text

Verona Mono Input Module

Printed On:



4M3X16 PAN NICKEL TORX FAS11-M3X16PN
4COUNTERBORED PCB SPACER HWR11-CE3299
3RICHCO MINI PUSH SPACER HWR99-PSM601
1MONO I/P MODULE FASCIA MWX-V0001M01-2
1I/P MODULE SUB CHASSIS MWX-V0001M02-2
4CONSOLE LOWER PCB SPACER MWX-V000M26-1
4CONSOLE UPPER PCB SPACER MWX-V000M27-1
1MONO INPUT PCB ASSY V0001-02-2
0VERONA MONO INPUT PLASITCV0001-PLASTIC-1
1INPUT FADER PCB ASSY V0003-01-3

KarlB

25/05/2004 15:57:20

Description

Part Identifier

Quantity

Reference Text

Verono Mono Input Plastics

Klark Teknik - DAT

Printed On:

560SIFAM RECT LGY PLAIN CAP FRN45-RLGY
160SIFAM RECT RED PLAIN CAP FRN45-RRED

80SIFAM RECT YELL (SOLO) FRN45-RYELSOLO
80SIFAM SQ RED (MUTE) CAP FRN45-SREDMUTE

1,280SIFAM SML RECT LGY PLAIN FRN45-SRLGY

8011MM 2PART F/KNOB LT/GRY FRN64-LGY11BLK

16011MM MIDAS KNOB 6MM D FRN81-X6DG/BUF

8011MM MIDAS KNOB 6MM D FRN81-X6DG/DGF
8011MM MIDAS KNOB 6MM D FRN81-X6DG/DGY

8011MM MIDAS KNOB 6MM D FRN81-X6DG/LGF
16011MM MIDAS KNOB 6MM D FRN81-X6LG/BLU
16011MM MIDAS KNOB 6MM D FRN81-X6LG/GNF
16011MM MIDAS KNOB 6MM D FRN81-X6LG/RDF
16011MM MIDAS KNOB 6MM D FRN81-X6LG/YLF
16015MM MIDAS KNOB 6MM D FRN85-X6DG/BUF

8015MM MIDAS KNOB 6MM D FRN85-X6DG/DGF

8015MM MIDAS KNOB 6MM D FRN85-X6DG/LGF

8015MM MIDAS KNOB 6MM D FRN85-X6LG/DGF

8015MM MIDAS KNOB 6MM D FRN85-X6LG/RED

KarlB

25/05/2004 15:57:57

at 1Page: 1of

MONO INPUT
MODULE

FRN45-RRED

FRN45-RLGY

FRN85-X6DG/LGF

FRN85-X6DG/BUF

FRN85-X6DG/BUF

48v 48v 48v 48v 48v 48v 48v 48v-15 -15 -15 -15 -15 -15 -15 -15

pad pad pad pad pad pad pad padpower power power power power power power power

+30 +30 +30 +30 +30 +30 +30 +30+45 +45 +45 +45 +45 +45 +45 +45

+60 +60 +60 +60 +60 +60 +60 +60+15 +15 +15 +15 +15 +15 +15 +15

mic gain mic gain mic gain mic gain mic gain mic gain mic gain mic gain

OOOOOOOOOOOOOOOO

insert insert insert insert insert insert insert insert

mic mic mic mic mic mic mic mic

60 60 60 60 60 60 60 60

160 160 160 160 160 160 160 160

hi-pass hi-pass hi-pass hi-pass hi-pass hi-pass hi-pass hi-pass

20 20 20 20 20 20 20 20

400 400 400 400 400 400 400 400

-15 -15 -15 -15 -15 -15 -15 -15+15 +15 +15 +15 +15 +15 +15 +15
5k 5k 5k 5k 5k 5k 5k 5k10k 10k 10k 10k 10k 10k 10k 10k

treble treble treble treble treble treble treble treble

20k 20k 20k 20k 20k 20k 20k 20k

2k 2k 2k 2k 2k 2k 2k 2k

-15 -15 -15 -15 -15 -15 -15 -15+15 +15 +15 +15 +15 +15 +15 +15
1k 1k 1k 1k 1k 1k 1k 1k

hi-mid hi-mid hi-mid hi-mid hi-mid hi-mid hi-mid hi-mid

lo-mid lo-mid lo-mid lo-mid lo-mid lo-mid lo-mid lo-mid

-15 -15 -15 -15 -15 -15 -15 -15+15 +15 +15 +15 +15 +15 +15 +15

bass bass bass bass bass bass bass bass

3k 3k 3k 3k 3k 3k 3k 3k1k

400 400 400 400 400 400 400 400

8k 8k 8k 8k 8k 8k 8k 8k

300 300 300 300 300 300 300 3001k 1k 1k 1k 1k 1k 1k 1k

100 100 100 100 100 100 100 100

2k 2k 2k 2k 2k 2k 2k 2k

50 50 50 50 50 50 50 50100 100 100 100 100 100 100 100

20 20 20 20 20 20 20 20

200 200 200 200 200 200 200 200

FRN45-RLGY

FRN85-X6LG/DGF

FRN81-X6DG/DGY

FRN81-X6DG/LGF

FRN81-X6DG/BUF

FRN81-X6DG/DGF

FRN45-RLGY

FRN45-SRLGY

FRN45-SRLGY

+15 +15 +15 +15 +15 +15 +15 +15

-15 -15 -15 -15 -15 -15 -15 -15

aux pre aux pre aux pre aux pre aux pre aux pre aux preaux pre

eq eq eq eq eq eq eqeq

eq eq eq eq eq eq eqeq

on on on on on on onon

off off off off off off offoff

0 0 0 0 0 0 0 0

aux 1 aux 1 aux 1 aux 1 aux 1 aux 1 aux 1 aux 1

aux 2 aux 2 aux 2 aux 2 aux 2 aux 2 aux 2 aux 2

aux 3 aux 3 aux 3 aux 3 aux 3 aux 3 aux 3 aux 3

aux 4 aux 4 aux 4 aux 4 aux 4 aux 4 aux 4 aux 4

aux 5 aux 5 aux 5 aux 5 aux 5 aux 5 aux 5 aux 5

aux 6 aux 6 aux 6 aux 6 aux 6 aux 6 aux 6 aux 6

aux 7 aux 7 aux 7 aux 7 aux 7 aux 7 aux 7 aux 7

pre pre pre pre pre pre pre pre

aux 8 aux 8 aux 8 aux 8 aux 8 aux 8 aux 8 aux 8

pre pre pre pre pre pre pre pre

groups groups groups groups groups groups groups groups

mono mono mono mono mono mono mono mono

+6 +6 +6 +6 +6 +6 +6 +6

0 0 0 0 0 0 0 0

+6 +6 +6 +6 +6 +6 +6 +6

0 0 0 0 0 0 0 0

+6 +6 +6 +6 +6 +6 +6 +6

0 0 0 0 0 0 0 0

+6 +6 +6 +6 +6 +6 +6 +6

0 0 0 0 0 0 0 0

+6 +6 +6 +6 +6 +6 +6 +6

0 0 0 0 0 0 0 0

+6 +6 +6 +6 +6 +6 +6 +6

0 0 0 0 0 0 0 0

+6 +6 +6 +6 +6 +6 +6 +6

0 0 0 0 0 0 0 0

+6 +6 +6 +6 +6 +6 +6 +6

1-2 1-2 1-2 1-2 1-2 1-2 1-2 1-2

3-4 3-4 3-4 3-4 3-4 3-4 3-4 3-4

5-6 5-6 5-6 5-6 5-6 5-6 5-6 5-6

7-8 7-8 7-8 7-8 7-8 7-8 7-8 7-8

stereo stereo stereo stereo stereo stereo stereo stereo

c c c c c c c c

FRN85-X6DG/DGF

FRN45-RRED

FRN81-X6LG/RDF

FRN81-X6LG/GNF

FRN81-X6LG/YLF

FRN81-X6LG/BLU

FRN45-RLGY

FRN45-RYELSOLO

FRN64-LGY11BLK

FRN45-SRLGY

l l l l l l l lr r r r r r r r

pan pan pan pan pan pan pan pan

groups groups groups groups groups groups groups groupsmaster master master master master master master master
pan pan pan pan pan pan pan pans i s s i s s i s s i s s i s s i s s i s s i s

MUTE MUTE MUTE MUTE MUTE MUTE MUTE MUTE

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO

10

18 18 18 18 18 18 18 18

12 12 12 12 12 12 12 12

0 0 0 0 0 0 0 0

5

-18 -18 -18 -18 -18 -18 -18 -18

0

5

mute 1 mute 1 mute 1 mute 1 mute 1 mute 1 mute 1 mute 1

10

15

mute 2 mute 2 mute 2 mute 2 mute 2 mute 2 mute 2 mute 2

20

mute 3 mute 3 mute 3 mute 3 mute 3 mute 3 mute 3 mute 3

30

40

mute 4 mute 4 mute 4 mute 4 mute 4 mute 4 mute 4 mute 4

10

5

0

5

10

15

20

30

40

10

5

0

5

10

15

20

30

40

10

5

0

5

10

15

20

30

40

10

5

0

5

10

15

20

30

40

10

5

0

5

10

15

20

30

40

10

5

0

5

10

15

20

30

40

10

5

0

5

10

15

20

30

40

FRN85-X6LG/RED

FRN45-SREDMUTE

V0001MIDAS

V0001MonoInputPCB

UpperBoard

MicPre-ampandEQ

V0001Schematics-

V0001BoardOverlay-

V0001PartsGridLocator-

V0001PartsList-

Component Locator

Component Placement (Top/Bottom of Board)

Location On Grid

1A Bottom B10
1B Bottom B10

1C Top A8
2A Bottom A1
2B Top A5
2C Top A4
2E Top A3
2F Bottom A1
3A Bottom A1
4A Bottom C10
4B Bottom C10
4C Top B8
5A Bottom C1
5B Top B5
5C Top B4
5E Top B3
5F Bottom B1
6A Bottom B1
7A Bottom D10
7B Bottom D10
7C Top D8
8A Bottom D1
8B Top C5
8C Top C4
8E Top C3
8F Bottom D1
9A Bottom C1
10A Bottom E10
10B Bottom E10
10C Top E8
11A Bottom E1
11B Top D5
11C Top D4
11E Top D3
11F Bottom E1
12A Bottom D1
13A Bottom F10
13B Bottom F10
13C Top F8
14A Bottom F1
14B Top E5
14C Top E4
14E Top E3
14F Bottom F1
15A Bottom E1
16A Bottom G10
16B Bottom G10
16C Top G8
17A Bottom G1
17B Top G5
17C Top G4
17E Top G3
17F Bottom G1
18A Bottom G1

Component Locator

Component Placement (Top/Bottom of Board)

Location On Grid

19A Bottom H10
19B Bottom H10
19C Top H8
20A Bottom H1
20B Top H5
20C Top H4
20E Top H3
20F Bottom H1
21A Bottom H1
22A Bottom I10
22B Bottom I10
22C Top I8
23A Bottom I1
23B Top I5
23C Top I4
23E Top I3
23F Bottom I1
24A Bottom I1
C1000 Bottom A10
C1001 Top B7
C1002 Bottom A10
C1003 Bottom B10
C1004 Bottom B10
C1005 Top A9
C1006 Bottom B8
C1007 Bottom A8
C1008 Bottom A8
C1009 Bottom A8
C1010 Bottom A8
C1011 Bottom B9
C1012 Bottom B7
C1013 Bottom B7
C1014 Top A8
C1015 Top A8
C1016 Bottom B10
C1017 Bottom A10
C1018 Bottom A7
C1019 Bottom A3
C1025 Top B2
C1026 Bottom A7
C1027 Bottom A7
C1028 Top B2
C1029 Top A9
C1030 Bottom B3
C1031 Top A2
C1032 Top B9
C1033 Bottom B8
C1034 Top B3
C1035 Top A4
C1036 Bottom B3
C1037 Bottom A5
C1038 Top A4
C1039 Top B5
C1040 Bottom A5
C1041 Bottom B5

Component Locator

Component Placement (Top/Bottom of Board)

Location On Grid

C1042 Top A6
C1048 Bottom A5
C1049 Bottom A3
C1054 Bottom A5
C1055 Bottom A3
C2000 Bottom B10
C2001 Top C7
C2002 Bottom B10
C2003 Bottom C10
C2004 Bottom C10
C2005 Top B9
C2006 Bottom C8
C2007 Bottom B8
C2008 Bottom B8
C2009 Bottom B8
C2010 Bottom B8
C2011 Bottom C9
C2012 Bottom C7
C2013 Bottom C7
C2014 Top B8
C2015 Top B8
C2016 Bottom C10
C2017 Bottom B10
C2018 Bottom B7
C2019 Bottom B3
C2025 Top C2
C2026 Bottom B7
C2027 Bottom B7
C2028 Top C2
C2029 Top C9
C2030 Bottom C3
C2031 Top B2
C2032 Top C9
C2033 Bottom C8
C2034 Top C3
C2035 Top B4
C2036 Bottom C3
C2037 Bottom B5
C2038 Top B4
C2039 Top C5
C2040 Bottom C5
C2041 Bottom C5
C2042 Top B6
C2048 Bottom B5
C2049 Bottom B3
C2054 Bottom B5
C2055 Bottom B3
C3000 Bottom D10
C3001 Top D7
C3002 Bottom C10
C3003 Bottom D10
C3004 Bottom D10
C3005 Top C9
C3006 Bottom D8
C3007 Bottom C8