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.