Midas XL401, XL4, XL402, XL405, XL404 User Manual

HISTORY

MIDAS XL4 FEATURES

During its 30 year history, Midas has been producing live sound
consoles for the world's most demanding sound engineers and
maintains a policy of sonic excellence combined with usability and
reliability. To achieve this, the company has always worked closely with
leading professional in the field, and in the case of the XL4, Managing
Director, Bob Doyle, spent 10 painstaking months finalising the
specifications of the console while discussing its concept and aims
with world class sound engineers, rental company heads, theatrical
production designers and artists. This close involvement of end users
enabled Midas to develop a console that would meet the 'real world'
needs of the most sophisticated customer, right across the live sound
spectrum.

The design brief for the console was to match or exceed the audio
performance of the highly acclaimed XL3 and to combine that with a
powerful, user-friendly automation system to deliver a no­compromise live performance console ideally suited to the needs of
rental companies, touring system operators and high-end theatre
installations. The mixing environment was designed to enhance the
creativity of the mixing engineer, specifically by automating repetitive
tasks allowing the engineer to concentrate on the artistic aspect of the
performance.

The XL4 is a 48 channel, 45-buss console that also incorporates an 18
x 8 matrix and eight mute busses. It is designed to offer an uncluttered
control surface with the two groups of 24 channels split either side of
the central master section, yet it makes effective use of space to offer
a reasonably compact footprint. A newly designed mic preamp has
been used that further improves on the XL3 circuit to provide increased
gain range and lower distortion. This design retains the constant
bandwidth topology of the XL3 to ensure amplifier stability along with
optimum RF rejection and noise performance at all gain settings. Its
EQ section is closely based on that of the acclaimed XL3, though the
treble and bass sections have been given extended frequency ranges
and may be switched to fully parametric operation.

A separate high impedance input, with level control, is provided for the
connection of playback machines and other general-purpose line­level sources and every channel is equipped with a half-normalised,
fully balanced, insert send and return (switchable pre or post
equaliser) that can be switched in and out from the front panel.

Any channel can be routed to any combination of 42 audio busses
comprising 16 mono aux sends, 4 stereo aux sends, 16 audio sub
groups and 1 stereo master. Routing can be accessed directly via the
front panel or via the on-board automation system. Each input channel
has a direct output that can be sourced pre or post equaliser. Excellent
metering facilities are provided via 28 high visibility, peak reading
bargraph meters that monitor all the main and group outputs but that
may be switched globally to monitor pre-fader or post fader sources
and may also be used to monitor the 24 aux output levels.

Up to 2000 automation scenes can be stored where a scene includes
the channel routing, all major channel control functions and all major
output mutes. The 12 motorised master faders (10 acting on inputs and
2 acting on audio groups) controlling VCAs and eight mute masters
provide direct control of signal levels within the console and it is
possible to import or export automation data for backup or console
linking. Input faders can be motorised as an option.

Military spec circuit boards are used throughout, and as with the other
consoles in the Midas range, only tight tolerance components are used
along with hermetically sealed ALPS pots and 100mm Penny & Giles
faders. Like the Midas Heritage series of consoles, the XL4 is
manufactured almost entirely by hand in Kidderminster where the
engineering and quality control standards demanded of Midas
consoles can be maintained. To back up our confidence in the XL4, the
console carries a full three year factory warranty, plus the support of
a global distributor network.

MIDAS XL4 FEATURES

48 Mic Inputs

The XL4 features a new mic amplifier which further improves on the
XL3 design giving increased gain range and lower distortion, whilst
retaining the XL3's constant HF bandwidth topology which assures
excellent amplifiers stability, RF rejection and noise performance at all
gains.

Direct Outputs

Every input module is fitted with a direct output as standard with its
own level control and front panel switching which selects the source
from post fader, pre fader or pre insert and equaliser.

16 audio sub groups

The 16 main audio groups can be assigned to any of the 8 automute
groups and to VCA control from any combination of the 2 motorised
grand master faders. A safe switch is again included for each group.
The input for the groups is normally derived from the 16 group busses
but for monitor applications the fader change over routes the 16 mono
aux busses to the group faders.

Line inputs

A separate Hi Z line input with its own dedicated gain control is
incorporated which is ideal for playback of recorded material. Global
change over from mic (record) to line (playback) is easy because it is
under automation control.

Equaliser

The sonic performance of the legendary XL3 equaliser is maintained
including the full parametric mid's and traditional Midas bass and
treble shelving responses. In addition the treble and bass sections now
have an extended frequency range and are switchable to full
parametric operation.

Inserts

Each channel has a half normalised fully balanced insert send and
return point which can be switched in or out from the front panel and
set as either pre or post equaliser.

Input metering

These peak reading meters cover a 60dB range in 3dB steps and can
be switched globally to monitor pre fader signals or pre insert and
equaliser signals.

Audio busses

Each channel can be routed to any combination of 42 audio busses
comprising of 16 mono aux'es, 8 stereo aux'es, 16 stereo groups and 2
stereo masters. All this is switchable on the module front panel but
also via the automation control.

VCA and mute busses

Each channel can be controlled by any combination of the 10 motorised
VCA master faders and 8 mute masters. Assignment of these busses
is again switchable on the module front panel or by the automation
control. A safe switch disconnects the channel from all mute groups
and an isolate switch removes the channel from all VCA control.

Group aux inputs

An additional 16 inputs with treble and bass equalisation can be routed
directly to the groups or via a pan to the masters mix and can be
further controlled by assignment to any of the 10 VCA masters.

Master

The stereo master module provides the main left and right console
outputs plus 4 more record outputs and a mono output. A solo to
master facility is incorporated on the left, right and mono outputs to aid
the engineer at sound checks.

Matrix

As standard the 8 matrix outputs derive their signals from the 16 audio
groups, left and right masters creating an 18 x 8 matrix. The module
also houses the stereo aux masters which have their own outputs at all
times but which can be routed directly into the matrix giving an
additional 48 x 8 matrix sourcing direct from the input channels.

Output meters

28 peak reading meters (each covering a 60dB range in 3dB steps) are
used to monitor all the main outputs i.e. 16 groups, 8 matrix, 2 masters
and 2 local outputs. They and can be switched globally to monitor pre
fader or post fader signals and can also be used to monitor the 24 aux
outputs.

Automutes

The 8 automute masters can be assigned to any input or audio group
and act on pre fader and post fader signals. Apart from assignment the
operation of these mutes is entirely independent of the automation
system.

10 input VCA faders

10 motorised VCA master faders control the channel and aux inputs
whilst a further 2 VCA grand master faders control the audio groups.
Each VCA master has a solo switch which gives the engineer an
opportunity to monitor the signals within the VCA subgroup. Also
incorporated is a VCA mute which act on post fader signals only and
effectively adds a further 12 automute scenes to the existing dedicated
automutes.

Automation

The automation system can store and recall up to 2000 scenes. All
channel routing and major functions are automated as well as all
major output mutes. The 12 motorised VCA master faders give
dynamic control of signal levels within the console and all automation
information can be exported or imported in a variety of different
mediums for storage or console and system linking.

MIDAS XL402 INPUT POD

The XL402 Input Pod is a comprehensive mic/line input stage
featuring switchable phantom power, 20dB pad and the facility to
place the mic/line switching under automation control. Separate
gain controls are provided for the mic and line inputs. Variable high
and low pass filters operate over the ranges 10Hz to 400Hz and 1kHz
to 40kHz respectively. A 20-section LED meter monitors the signal
level and the phase switch operates on both the mic and line signal
paths.

MIDAS XL401 INPUT MODULE

Fed from the XL402 Input Pod, the XL401 Input Module's Direct
output can be switched to pick up its signal pre or post the channel
insert point. A separate Pre Fade button enables the direct output to
be picked up pre or post the channel fader and a rotary control sets
the level of the Direct out signal.

The input module incorporates an enhanced MIDAS 4-band
equaliser that features two fully parametric mid sections plus
variable frequency high and low shelving filters with adjustable
frequency ranges (1kHz to 20kHz and 20Hz to 400Hz respectively).
Newly added Bell switches and width controls convert the high and
low sections from the traditional MIDAS shelving response to fully
parametric operation. The two parametric mid range sections can
be varied over the ranges 1kHz to 20kHz and 100Hz to 2kHz. The
equaliser may be switched pre or post the channel insert point.

Sixteen mono aux controls may be individually assigned to pre or
post-fade operation with four further stereo Aux sends. The pre/post
switching on the stereo Aux sends change the signal sent to the
stereo busses from post fader to pre fader while retaining the post
pan stereo image. Aux send on/off switching may be controlled via
the automation system.

The module Pan control has a constant power response while a
Mute switch mutes the channel at all points except the insert send
and pre insert/EQ direct output. An Insert switch connects the input
insert return to the input channel either before or after the EQ and
is under automation control. The ST switch connects the channel
post fader signal to the stereo buss via the Pan control and is also
under automation control.

MIDAS XL405 STEREO INPUT POD

The XL405 Stereo Input Pod is a comprehensive mic/line input stage
featuring switchable phantom power, a 25dB pad and separate
phase switches for the left and right signal paths. A pair of 11­segment meters monitor the signal level in both channel paths.

A switchable Hi Pass filter affects both channels is variable over the
ranges 10Hz - 400Hz. A stereo Balance control offers left/right
balance adjustment over the range +/-10dB. The XL405 provides a
Left and Right Direct output which may be internally linked to be pre
or post insert/EQ.

MIDAS XL404 STEREO INPUT MODULE

Fed from the XL405 Input Pod, the XL404 Stereo Input Module
incorporates a classic MIDAS 4-band equaliser that features two
fully parametric mid sections plus variable frequency high and low
shelving filters with adjustable frequency ranges (2kHz to 20kHz and
20Hz to 200Hz respectively). The two fully parametric mid range
sections can be varied over the ranges 400Hz to 8kHz and 100Hz to
2kHz. The equaliser may be switched in or out of the signal path
manually or via the console automation.

Sixteen mono aux controls may be individually assigned to pre or
post-fade operation with four further stereo Aux sends. The pre/post
switching on the stereo Aux sends change the signal sent to the
stereo busses from post fader to pre fader while retaining the post
pan stereo image. Aux send on/off switching may be controlled via
the automation system.

Each of the two signal paths has its own constant power response
Pan control while a Mute switch mutes the channel at all points
except the insert send and pre insert/EQ direct output. An Insert
switch connects the input insert return to the input channel either
before or after the EQ and is under automation control. The ST
switch connects the channel post fader signals to the stereo buss via
the Pan control and is also under automation control.

MIDAS XL403 INPUT VCA FADER

Each of the input channels is controlled via a VCA fader providing
level adjustment from off to +10dB. An Isolate switch disconnects
the channel from the automation scene recall system while a Safe
switch disconnects the input channel mute from the eight mute
busses.

A large Solo button sends the input channel signal to the PFL mono
and AFL stereo busses. If pressed briefly, the switch will latch on or
off, but if held for more than one second, latching is disabled and the
action becomes momentary.

Ten illuminated Group Assign switches run alongside the fader and
provide three distinct functions. Firstly, they assign the post fader
signal to the 16 audio groups (in pairs) in conjunction with the pan
control. Their second function is to assign the input channel to the
10 moving fader controlled VCA subgroups. Finally, they are also
used to assign the input channels to the eight automated mute
groups. The function of these switches is selected globally from the
central control panel and a lock function is provided making it
possible to lock all the input channel group assign switches to
prevent inadvertent operation. It is still possible to view the switch
status of all three group types when the lock mode is active.

MIDAS XL414 GROUP MODULE

The XL414 Group Module is a flexible but intuitive Group master
control strip incorporating two separate rows of controls addressing
two adjacent groups. Fader Change Over swaps the mono aux
busses with the audio group busses for monitoring applications.
There's also an aux return, which can function at mic or line level
with individual bass/treble EQ, phantom power switches, gain and
pan controls, and switches for Mute Solo and Sub.

Sub disconnects the returns from the stereo master buss and
instead routes them to the audio subgroups below, bypassing the
pan control.

Grand Master VCA switches A and B assign the audio subgroups to
the two Grand Master VCA subgroups. A further bank of Auto Mute
Group switches assign the audio subgroups to the eight auto mute
groups. Safe switches disconnect individual audio subgroups from
the auto mute busses.

A talk switch connects the audio subgroups to the Comms module.
When the TALK TO GROUPS switch is on, the Comms module is
active and it is possible to route its oscillator, pink noise, external
input, talk mic or comms mic to the audio subgroups.

An Ins switch connects the group insert return signals to the audio
subgroups while the ST switch sends the post fader audio subgroup
signal to the stereo mix buss via the pan control.

The Mute switch, which is under control of the automation and
automute group, mutes the audio group at all points other than the
insert send.

A large Solo button sends the group signal to the PFL mono and AFL
stereo busses. If pressed briefly, the switch will latch on or off, but
if held for more than one second, latching is disabled and the action
becomes momentary.

MIDAS XL412 OUTPUT METER POD

The XL412 Output Meter Pod provides full metering functions for the
16 output groups, the 16 aux master sends and 16 line level returns.
The Pod also provides peak metering of the master stereo, solo, PFL
and local buss matrix outputs and the stereo aux send outputs. It
employs high visibility, 20-section LED meters and a master Global
Meter Changeover button on the Comms module provides two
distinct metering modes (Output level or buss amplifier level). The
Aux switch changes the meter source for both meters from group
outputs to aux send while the Return switch changes the function of
both meters so that they monitor the post fade line return signals. If
the Aux switch is not activated, the meters revert to monitoring the
audio Group outputs regardless of the Return switch status. The 20­segment precision LED meters normally monitor the peak levels of
the group, aux or returns as selected. When the Global Meter
Changeover switch on the Comms module is activated, the meters
monitor the group buss, aux buss or line level returns as selected.

The Master meters normally track the stereo left and right output
levels, but when the Global Meter Changeover function is active,
they instead monitor the left and right buss amplifier levels. The
Solo meters monitor either the peak stereo AFL levels or the PFL
and local output levels as selected via the PFL Monitor switch on the
Comms module.

Individual changeover switches for the left and right meters are
located above each pair of Matrix meters enabling the meters to
monitor the stereo aux send outputs in place of the matrix outputs.
The meters normally follow either the stereo aux outputs or the
matrix outputs as selected unless the Global Meter Changeover is
active, in which case the meters monitor the matrix buss or stereo
buss amplifier levels.

MIDAS XL413 MASTER VCA FADER

The XL413 Master Fader section provides moving fader control of
the 10 VCA subgroups plus the two Grand Masters with solo and
metering facilities. Isolate switches isolate the corresponding Group
or Grand Master A/B VCA from the automation system. VCA Mute
switches mute any post fade signal assigned to corresponding
Group/Grand Master A/B.

The VCA Solo switches make it possible to monitor the
corresponding VCA subgroups or Grand Master A/B by creating a
corresponding Audio subgroup on the stereo AFL busses. All input
channels and line returns assigned to a VCA subgroup will be
summed onto the solo busses when the VCA Solo is active. If
pressed briefly, the switch will latch on or off, but if held for more
than one second, latching is disabled and the action becomes
momentary.

MIDAS XL421 MASTER MODULE

The XL421 Master Module provides fader control over the main mix
outputs as well as two separate recording outputs. Record 1 and 2
are stereo and have a single level control each as well as a mute
button. A 10 section LED meter shows the peak level of whichever
channel is currently loudest.

A large Mute All button mutes all the console outputs, effectively
turning the console off. A Solo In Place switch the mono, left and
right master signals (pre-insert) and replaces them with the signal
on the stereo AFL solo busses. The master matrix feeds are not
affected by this operation.

The mono output, which has its own Mute button, is controlled by an
independent fader and is monitored post-fader by a high resolution
20-section LED peak level meter.

When the Global Meter Changeover switch is active, the meter
monitors the output of the mono buss summing amplifier. The VCA
fader switch links the mono fader to the stereo master fader so that
they track together.

A Solo button is provided that features the same momentary or
latching action as other Solo buttons on the console while the mono
Ins switch feeds the mono insert return into the mono mix.

A further Aux I/P Mute button mutes all the group module aux line
returns.

The main stereo fader has separate Mute and Solo buttons for each
channel along with a stereo balance control that provides from off to
+3dB.

A Matrix Send Pre button feeds a pre fader/pre-insert signal from
the stereo busses to the matrix modules. Normally the matrix
modules is fed from the post fade signal.

MIDAS XL431 COMMUNICATION MODULE

The XL431 Communication Module, which is Clearcom compatible,
provides central control over the console's Talkback functions, test
oscillator, Auto Mute Group master switching and Solo/PFL mode
selection. It also allows control over the local output level and
headphone output level as well as headphone muting and Solo
On/Clear switching. The internal oscillator section can be swept
from 100Hz to 10kHz as well as Pink noise and the oscillator output
may be switched to the talk system.

Six separate Talk buttons allow the talk signal to feed any
combination of the auxes, groups, matrix, mono, left and right
busses. A balanced talk mic input is fitted along with a talk button
that automatically dims the local outputs by 20dB to prevent
howlround. A Link switch connects the talk system into the comms
system such that the talk mic can send and the headphones and
local output can receive 'Clearcom' signals as well as the headset.

A large illuminated Call button at the top of the module shows when
a Clearcom signal is expected and also sends a DC pulse when
pressed to illuminate the Call lamps on connected Clearcom
devices.

Eight large illuminated Auto Mute Group Master switches function
mute any input channel or audio group assigned to the
corresponding mute group.

A Solo Add mode switch enables multiple sources to be solo'd
simultaneously while the PFL Monitor switch sends the mono PFL
solo buss signal to the headphones and local outputs instead of the
stereo AFL solo buss signal.

The global Meter Changeover switch affects all the meters on the
console except the comms and record meters. Normally, the meters
monitor pre-fade on the input channels and post-fade on all other
signals, but when this switch is active, the meters monitor the input
amplifier or buss amplifier signals as appropriate.

The local output level rotary control and the phones output fader
may have their functions swapped via the Fader C/O switch. The
corresponding mute switches are also exchanged in this mode.

A large Headphone Mute switch mutes the phones outputs while the
Solo On/Clear switch illuminates when any solo switch other than a
Master Solo switch is active and, when pressed, it clears any active
solo switches (other than master solo switches).

MIDAS XL441 MATRIX MODULE

The XL4 features a clearly presented and flexible matrix control
system. The eight matrix outputs may be derived from the 16 audio
groups as well as the left and right mix signals, providing a full 18 x
18 matrix. This module also includes the Stereo Aux Masters. These
have their own outputs at all times, but may also be routed directly
into the matrix to provide an additional 48 x 8 matrix sourced directly
from the input channels.

The XL441 Matrix Module is mainly occupied by two rows of 16
individual Mix controls which adjust the audio subgroup levels over
the range +6dB to off. When the Changeover switch on the Group
module is active, the mono aux buss feeds the matrix in place of the
audio sub group.

The stereo Aux Master control at the top of module sets the stereo
aux output level while the adjacent MTX switch directs the pre-fader
stereo aux buss signals to the matrix mix for monitoring
applications.

A stereo Aux Mute switch is provided along with a stereo aux Solo
switch that sends the stereo aux signals to the PFL mono and AFL
stereo busses. If pressed briefly, the switch will latch on or off, but
if held for more than one second, latching is disabled and the action
becomes momentary.

A Global Pre On switch beneath the Mix control section changes the
audio subgroup signals routed via the matrix mix controls from
post-fader to pre-fader.

Master Left and Right controls enable the master left and right
signals to be added to the Matrix mix.

A Talk button connects the matrix busses to the comms module, and
when the Talk to Matrix switch on the Comms modules is active, it is
possible to route pink noise, the tone oscillator, the talk mic or an
external input to the matrix mix. The Ins switches connect the
matrix insert return signals to the matrix mixes while the matrix
Mute switches (which are under automation control) mute the
matrix outputs but not the insert sends.

The matrix Solo switch sends the signal to the PFL mono and AFL
stereo busses. If pressed briefly, the switch will latch on or off, but
if held for more than one second, latching is disabled and the action
becomes momentary. Note that these switches do not operate when
the console is in Solo In Place mode. This is a safety feature to
prevent the matrix outputs being inadvertently routed back to their
own inputs via the master matrix feed.

MIDAS XL443 AUTOMATION CONTROL

The MIDAS XL4 utilises specially developed microprocessor
technology, enabling it to deliver an unprecedented feature set for a
live console, whilst at the same time retaining the look, feel and
ease of use of a traditional console. The rate at which scenes can be
changed is a concern to many users but the XL443 is capable of
updating itself over fifty times a second making recall virtually
instantaneous (around 20mS). Furthermore, because the MIDAS XL4
is a 'computer assisted' console, all its audio functions may be
controlled without the central control CPU when necessary.

The CPU system was developed in conjunction with console
automation specialists OUTBOARD ELECTRONICS Ltd where each
input channel has its own microprocessor. Two further
microprocessors handle the VCA master section and the central
control section. This means that a standard 48 input console
employs no fewer than 50 microprocessors providing both high
speed operation and a high degree of protection. In the event that a
microprocessor should fail, the others will continue to operate
normally. Furthermore, the software comprises a number of
smaller programs which are easier to test and debug, minimising
the chances of software problems.

Key functions, such as MUTE switches, whilst they can be over­ridden by microprocessor control, will work without the intervention
of a microprocessor. Reliability in a live performance environment is
paramount to the MIDAS philosophy.

THE CENTRAL CONTROL UNIT

The MIDAS XL4 Automation is controlled from the Central Control
section to the right of the VCA Master faders. Control of the system
is via eight buttons and a 'jogwheel' with two displays (a four
character 'scene number' display and an eight character 'scene
name' display) providing the user feedback. The main 1 Meg of
internal memory is battery backed up and may also be downloaded
on to a memory card.

At the top of the panel are the 'AUDIO', 'MUTE', 'VCA' & 'LOCK'
switches which determine the operating mode of the input fader.

With the 'AUDIO' mode enabled, the fader bay switch bank controls
the audio group routing. With the 'MUTE' mode enabled, the fader
bay switch bank controls the automute assignments while with the
'VCA' mode enabled, it controls the VCA assignments.'LOCK' allows
the three operating modes to be called up, (allowing the state of the
switches to be seen), but changes are not permitted. On power up,
all functions which modify the stored data are disabled until the
system has been unlocked using a user password.
The automation follows a Scene-based paradigm and when storing
a new scene, the system will inform the user whether the scene is
being written into an empty location or overwriting an existing
scene. Recalling scenes is achieved very simply using the 'LAST',
'NOW' and 'NEXT' buttons, and also using the jogwheel. MIDI scene
recall is also possible.

Pressing the 'NEXT' button steps to the next scene number in
memory and recalls it to the console. After the last scene has been
recalled, pressing 'NEXT' displays 'END, indicating that no other
operation will occur.

Pressing 'LAST' moves to the previous scene and recalls it to the
console. Up to 2000 automation scenes can be stored where a scene
includes the channel routing, all major channel control functions
and all major output mutes. When the system is locked, the
jogwheel can only access the numbers of scenes that exist in
memory - no operations other than recall are available while the
system is locked.
The console also has a very practical MIDI implementation, enabling
scenes to be recalled via MIDI Program change messages. MIDI
Program changes may be mapped to the scene numbers required
be recalled and the MIDI channel may be set in the System menu.

Using the MIDI Out function, it is possible to set up eight MIDI Out
messages to be automatically transmitted when a scene is recalled.
These may be used for such tasks as switching patches on
externally connected MIDI controlled effects units.

XL432 BROADCAST COMMS MODULE

The Midas XL432 Communications Module controls the test
oscillator/noise generator, the talkback system, the Auto mute
masters, the Solo/PFL functions and local monitoring. The
illuminated Call switch warns of incoming Clearcom calls as well as
transmitting a DC pulse when pressed so as to warn any connected
Clearcom devices that an outgoing call is about to be made. A
continuously variable 100Hz to 10KHz test oscillator can feed either
the oscillator output or the talk system and a calibrated 1kHz setting
is provided. Pink noise is available as an alternative to the oscillator
and full oscillator/pink noise level control is available over the range
+ 6dB to off.

The Talkback Input features an auto ranging gain system and can be
routed to the Auxes, to any group buss, to any matrix buss, to the
mono master bus or to the stereo master bus. An oscillator
changeover switch routes the oscillator/pink noise signals to the talk
system in place of the talk mic signal.

A Comms On switch sends the comms headset mic signal to the
comms output/input connector while Link connects the talk mic to
the intercom such that the talk mic, headphones and PFL speaker
output can send and receive (respectively) Clearcom signals as well
as the headset. A Comms level control provides continuous

over the range + 6dB to off. When in Link mode, the Comms On switch feeds the talk mic into the comms system using the side
tone cancel circuit to prevent howlround.

Talk External provides continuous adjustment of the talk mic level feeding the external talk output while the Talk External switch
connects the talk mic to the talk external output while dimming the local monitor outputs by 20dB to prevent howlround

Talk Internal adjusts the talk mic level feeding the internal talk system while the Talk Internal switch routes the talk mic to the
internal talk system and dims the local monitor outputs by 20dB. Note that none of the talk internal or external controls affect
signals sent to the comms system when in LINK mode.

Eight large Auto mute Master switches activate the mute circuits on any appropriately mute group, assigned input channel or audio
group.The module includes a comprehensive solo PFL section where selecting Solo Add mode enables multiple channels
simultaneous access to the Solo busses. With Solo Add mode off, pressing any Solo switch will cancel any other active Solos (except
for the Master Solo switches - see XL421 Master Module).

PFL to Monitor connects the PFL signals to the monitor outputs in place of the 2-track return or master left and right signals
whenever a Solo is active. This switch overrides the Solo To Monitor switch directly below it. Unless overridden by the PFL To
Monitor switch, the Solo To Monitor switch connects the Solo/AFL signals to the monitor system outputs in place of the 2-track
return or master left and right signals whenever a Solo is active.

The large Solo / Clear button illuminates when any Solo switch (except a master Solo switch) is active. When pressed, it clears any
active Solo switches (except master Solo switches).

adjustment of the incoming Clearcom signals feeding the headset

The Global Meter Change Over switch changes the function of all the
console meters (except the Comms meters and the Record meters)
from their default of monitoring pre-fader levels on the input
channels and post-fader levels for all other signals. When Global
Meter Change Over is active, the meters instead monitor levels at the
input amplifiers or buss amplifiers (as appropriate) for all signals.
The 2-Track Return Change Over switch sends the 2-track input
signals to the monitor system outputs in place of the master left and
right signals.

An Intercom Level control adjusts the level of the Clearcom signal
levels fed into the headphones and PFL speaker output while
External 1 controls the level of signals fed into External input 1.
Signals from the PFL buss are adjusted using the PFL Level control
and the External 2 control adjusts the level of signals fed into
External input 2. PFL LS Level provides continuous adjustment of
signals sent to the PFL speaker output and Headphone Source
Change Over sends PFL signals to the headphone amplifier in place
of the monitor signals. The headphone amplifier is fitted with a
variable level control.

An A/B Speaker Change Over switch routes the stereo monitor
signals from the 'A' speaker outputs to the 'B' speaker outputs.

The output to the local monitoring system is controlled by the Local
LS Level knob, which provides continuous adjustment of signals sent
to the 'A' or 'B' monitor speaker outputs. Phase reverses the phase
of the left hand monitor signal and Mono sums the left and right
monitor signals with a 4.5dB summing loss.

The left/right Crossover switch routes the left hand monitor signal
into the right channel output speakers and the right hand monitor
signal into the left channel output speakers. A -20dB Dim switch with
indicator dims the monitor speaker outputs by 20dB and illuminates
to show that the talk system has dimmed the monitor speaker level
(to prevent howl round).

Left To Both and Right To Both switches enable either output source
to feed both channels while separate Mute Left and Mute Right
switches make it possible to mute either output independently.

XL4 INPUT MODULE BLOCK DIAGRAM

XL411 GROUP MODULE BLOCK DIAGRAM

XL421 MASTERS MODULE BLOCK DIAGRAM

XL431 COMMS MODULE BLOCK DIAGRAM

XL441 MATRIX MODULE BLOCK DIAGRAM

XL432 BROADCAST COMMS MODULE BLOCK DIAGRAM

XL4 TECHNICAL SPECIFICATIONS

Input Impedance Mic 2K Balanced

Input Gain Mic Continuously variable from

( all faders at 0dB ) Mic + Pad Continuously variable from

Maximum Input Level Mic + 6dBu

CMR at 1KHz Mic ( gain + 60dB ) > 70dB

Frequency Response Mic to Mix ( gain + 60dB ) + 0dB to - 1dB
( 20 to 20KHz )

Noise ( 20 to 20KHz ) Mic EIN ref. 150 Ohms ( gain + 60dB ) - 129dBu

Line 20K Balanced

+ 15dB to + 70dB

- 5dB to + 50dB

Channel Line Input Continuously variable from

- 20dB to + 20dB

All other Line Inputs 0dB

Mic + Pad + 26dBu
Channel Line inputs + 26dBu
All other Line Inputs + 21dBu

Mic + Pad ( gain + 40dB ) > 50dB
Line > 60dB

Line to Mix 0dB to - 1dB

Line EIN ref. 150 Ohms ( gain + 10dB ) - 100dBu

System Noise Summing Noise
( 20 to 20KHz ) ( 12 channels routedwith faders down ) - 86dB

Line to Mix Noise
( 12 channels routed at 0dB, pan centre ) - 81dB

Summing Noise ( 48 channels routed

Distortion at 1KHz Mic to Mix ( + 60dB gain, 0dBu output ) < 0.03%

Crosstalk at 1 KHz Channel to Channel < - 100dB

Output Impedance All Line Outputs 50 Ohms

with faders down ) - 80dB

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

Line to Mix ( 0dBu ) < 0.03%

Mix to Mix < - 90dB
Channel to Mix < - 90dB
Maximum Fader attenuation > 90dB

Balanced Source to drive > 600 Ohms

Headphones To drive > 8 Ohms Unbalanced
Comms ( Bi - directional ) 600 Ohms Nominal Unbalanced

Maximum Output Level All Line Outputs + 21dBu

Headphones + 21dBu ( 8W into 8 Ohms )
Comms ( Bi - directional ) 10dBu

Nominal Signal Level Mic - 70dBu to + 5dBu

Channel Line Inputs - 20dBu to + 5dBu
All other Line Inputs and outputs 0dBu
Headphones + 10dBu
Comms - 20dBu
Comms and Talk Mic - 50dBu to - 20dBu (auto gain)

Headroom at all stages Comms, Talk and Headphone > 10dB

Equaliser Low pass slope 12dB / Oct.

All other signals > 20dB Metering Type 20 led peak reading
Range - 36dBu to + 21dBu
Colour Green Up to + 9dBu Normal signal
Colour Yellow + 12dBu to + 15dBu High signal
Colour Red Over + 18dBu Signal Too High
Quantity 77 ( Monitoring all main Inputs and outputs )

Low pass frequency Continuously variable

-3dB point from 1K to 40K

Hi pass slope 12dB / Oct.

Hi pass frequency Continuously variable

3dB point from 10Hz to 400Hz

Treble Gain Continuously variable + 15 dB to - 15 dB

Centre detent 0dB

Treble Shelving Freq Continuously variable

- 3dB point from 1K to 20K

Treble Bell Freq Continuously variable centre from

1K to 20K

Treble Bell Bandwidth Continuously variable 0.1 Oct. to 2 Oct.

Centre detent 0.5 Oct.

Hi Mid Gain Continuously variable

Hi Mid Freq Continuously variable

Hi Mid Bandwidth Continuously variable 0.1 Oct. to 2 Oct.

Lo Mid Gain Continuously variable + 15 dB to - 15 dB

Lo Mid Freq. Continuously variable

Lo Mid Bandwidth Continuously variable 0.1 Oct. to 2 Oct.

Bass Gain Continuously variable + 15 dB to - 15 dB

Bass Shelving Freq Continuously variable

Bass Bell Freq. Continuously variable

Bass Bell Bandwidth Continuously variable 0.1 Oct. to 2 Oct.

+ 15 dB to - 15 dB
Centre detent 0dB

centre from 400Hz to 8K

Centre detent 0.5 Oct.

Centre detent 0dB

centre from 100Hz to 2K

Centre detent 0.5 Oct.

Centre detent 0dB

3dB point from 20Hz to 400Hz

centre from 20Hz to 400Hz

Centre detent 0.5 Oct.

XL490 POWER SUPPLY

Front panel Width 482mm/19”

Width 427mm/16.81”
Depth 460mm/18.11”

(incl. handles)

Height 135mm/5.31”

(incl. feet)

Weight 20kg/44.09lbs

Specs:

Input voltage range 90-132 and

180 to 250vac
Input Range Selection Automatic
Input Frequency 47-63Hz
Input Rating
(fully loaded) 1400W
Input Current
(fully loaded @110v) 13A
Input Current
(fully loaded @220v) 6.5A
Input Surge 136A pk

XL4 SPECIFICATION OVERVIEW AND STATISTICS

266.2mm/10.48”

237.1mm/9.33”

”

4

.5

/9

m

m

.4

2

4

2

424.7mm/16.72”

374.3mm/14.74”

1129.8mm/44.48”

Console Depth 1129.8mm/44.48”
Dimensions Nett Weight 229kg / 505lb

Flight Case 2260mm/88.98” (width)
Dimensions 1680mm/66.14”

(depth)

650mm/25.59” (height)

Weight 450kg/992lbs (approx)

252mm/9.92”

46.5mm/1.83”

9mm/0.35”

50mm/1.97”

56mm/2.2”

2176 mm/85.67”

The XL4 is a 45 buss console with an additional
18 X 8 output matrix. The busses are as follows:-

16 mono aux = 16
16 audio sub groups = 16
4 stereo aux = 8
1 stereo master = 2
1 stereo AFL = 2
1 mono PFL = 1
TOTAL = 45

The XL4 has 8 automute sub groups, 10 input channel VCA sub
groups which include VCA sub group muting and 2 grand master
VCA sub groups with VCA sub group muting.

The XL4 has 48 input channels with separate line and mic inputs
plus an additional 16 aux line returns.

The XL4 has a total XLR input count of 171 as follows:-

48 channel line inputs
48 channel mic inputs
24 aux bus inject inputs
16 audio group bus inject inputs
16 aux line returns inputs
8 matrix bus inject inputs
3 solo bus inject inputs
2 master bus inject inputs
1 comms mic input ( headset )
1 comms input ( and output )
1 talk mic input
1 talk bus inject input
1 midi input

The XL4 has a total XLR output count of 111 as follows:-

48 input channel direct outputs
24 aux outputs
16 audio group outputs
8 matrix outputs
4 record outputs
3 master outputs
3 solo outputs
2 local outputs
2 midi outputs
1 talk output

The XL4 has a total bantam jack field count of 158 as follows:-

56 input channel insert sends
( 8 spare for stereo module up grades )
56 input channel insert returns
( 8 spare for stereo module up grades )
16 audio group insert sends
16 audio group insert returns
8 matrix insert sends
8 matrix returns
8 parallel links ( 2 sets of 4 )
3 master insert sends
3 master insert returns

The XL4 has 12 motorised moving faders for the VCA masters.

The XL4 has a total of 2539 automated switch functions as follows:-

960 input channel aux send on off switches
480 input channel VCA sub group assign switches
384 input channel audio sub group assign switches
384 input channel mute sub group assign switches
48 input channel EQ on off switches
48 input channel stereo master on off switches
48 input channel phase switches
48 input channel insert on off switches
48 input channel mic line switches
48 input channel mute switches
16 audio sub group mute switches
16 aux line return mute switches
8 matrix mute switches
3 master mute switches

The XL4 has a total of 77 peak program meters with 20 LED
segments each and monitoring 282 signal points within the
console.

Please note: XL4s are wired to take stereo channels in positions
17-24 and 41-48 as standard

424.7mm/16.72”

Since 1974 the Klark
Teknik brand has been
synonymous with the
single-minded pursuit of
excellence in professional
signal processing.
Recognised worldwide for
their innovation, Klark
Teknik have introduced
many ground-breaking
designs including the
world's first digital delay
and reverberation units.
Their pioneering tradition
continues to this day, with
the recent introduction of
the DN9848 digital
loudspeaker processor and
DN1248 active splitter
systems. With these units
and others, Klark Teknik
have once again defined
the standards to which
others aspire. Although
famous for their
equalisation and analysis
units, the range today also
encompasses dynamic
processors, digital and
analogue system
controllers, analogue
utility units, multi-purpose
processors and active DI
boxes. All Klark Teknik
units are designed,
engineered and tested to
the most stringent
standards, providing the
longest possible working
life in the field with the
lowest downtime, and the
highest residual values of
any comparable product.

Since their original genesis
in the late 1960s, Midas
consoles have remained
the premier choice of
discerning audio
professionals all over the
world. Their unique
combination of
engineering quality, audio
performance, real-world
reliability and global
acceptance makes them
the definitive article in the
world of professional
audio. The legendary XL3
brought Midas back into
the big league in 1990, and
was later followed by the
XL200, the XL250 and the
awesome XL4 which
remains the flagship of the
range. The introduction of
the Heritage range of
consoles further
consolidated Midas' global
domination of the industry,
with the award-winning
Heritage 3000 becoming
the most popular console
the company has ever
manufactured. Now, the
Venice compact console
and the fabulous Legend
range bring the great
sound of Midas to a whole
new group of users, whilst
the striking new Broadcast
2000 console brings Midas'
unrivalled expertise to the
world of broadcast.

Klark Teknik Group

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

Tel: +44 (0) (1562) 741515 Fax: +44 (0) (1562) 745371 www.klarkteknik.com www.midasconsoles.com

Country Address Telephone Fax

United States of America 12000 Portland Avenue South, Burnsville, MN55337 [phone] [phone]
Australia Unit 24, Block C, Slough Avenue, Slough Business Park, Silverwater, NSW2141 [phone] [phone]
France Parc de Courcerin, Allee Lech Walesa, Lognes, F77322 Marne La Vallee, Cedex 2 [phone] [phone]
Germany Hirschberger Ring 45, Postfach 0254, D-94315 Straubing [phone] [phone]
Hong Kong Unit E&F, 21/F Luk Hop Ind Building, 8 Luk Hop St, San Po Kong, Kowloon [phone] [phone]
Japan 2-5-60 Izumi, Suginami-ku, Tokyo 168 [phone] [phone]
Mexico Parque Chapultepec 66-201, Col. El Parque, Naucalpan de Juarez, EDO. De Mexico 53390 [phone] [phone]

Midas Distributors