Midas consoles F32, F16 Operator Manual

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F16, F24 and F32

Professional Audio Mixing

Consoles

Operator Manual

Midas Klark Teknik Ltd.,

Klark Industrial Park,

Walter Nash Road,

Kidderminster.

Worcestershire.

DY11 7HJ.

England.

Tel: +44 1562 741515

Fax: +44 1562 745371

Email: info@midasklarkteknik.com Website: www.midasconsoles.com

VeniceF — Operator Manual

DOC02-VENICEF Issue A — December 2010

In line with the company’s policy of continual improvement, specifications and function may be

subject to change without notice. This document was correct at the time of writing. E&OE.

IMPORTANT SAFETY INSTRUCTIONS

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 product.

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 manufacturer’s 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 Use only with the cart, stand,

tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13 Unplug this apparatus during lightning

storms or when unused for long periods of time.

14 Refer all servicing to qualified personnel.

Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

15 Use the mains plug to disconnect the

apparatus from the mains.

16 Warning: To reduce the risk of fire or

electric shock, do not expose this apparatus to rain or moisture.

17 Warning: Do not expose this

equipment to dripping or splashing and ensure that no objects filled with liquids, such as vases, are placed on the equipment.

18 Warning: The mains plug of the power

supply cord shall remain readily operable.

INSTRUCTIONS DE SÉCURITÉ IMPORTANTES

Le symbole représentant un éclair fléché dans un triangle équilatéral a pour but d'alerter l'utilisateur de la présence d'une "tension dangereuse" non isolée à l'intérieur du boîtier, pouvant être d'une force suffisante pour constituer un risque d'électrocution.

Le point d'exclamation dans un triangle équilatéral a pour but d'alerter l'utilisateur de la présence d'instructions importantes concernant le fonctionnement et la maintenance, dans la documentation qui accompagne l'appareil.

1 Veuillez lire ces instructions. 2 Conservez ces instructions. 3 Respectez toutes les consignes de

sécurité.

4 Suivez scrupuleusement toutes les

instructions.

5 N'utilisez pas cet appareil près d'un point

d'eau.

6 Utilisez uniquement un chiffon sec pour le

nettoyer.

7 N'obstruez aucune des ouïes de

ventilation. Installez-le en respectant les instructions du fabricant.

8 Ne l'installez pas près de sources de

chaleur tels que radiateurs, panneaux chauffants, étuves, ou autres appareils produisant de la chaleur (dont les amplificateurs).

9 Ne pas utiliser d'adaptateur pour

supprimer la prise de terre des prises à trois fiches. Si la prise fournie ne peut pas être branchée dans la prise électrique, adressez-vous à un électricen qui remplacera la prise obsolète.

10 Protégez le cordon secteur afin que l'on ne

marche pas dessus et qu'il ne soit pas pincé, surtout au niveau des prises, ou à l'endroit où il sort de l'appareil.

11 Utilisez exclusivement des fixations et des

accessoires recommandés par le fabricant.

12 Utilisez l'appareil uniquement

avec le chariot, le trépied, le support ou la table spécifiés par le fabricant, ou vendus avec l'appareil. Si un chariot est utilisé, prenez toutes les précautions nécessaires lorsque vous devez déplacer l'ensemble (chariot et appareil) afin qu'ils ne se renversent pas.

13 Débranchez l'appareil en période d'orage

ou s'il doit rester inutilisé pendant longtemps.

14 Confiez toutes les réparations et

interventions à un personnel qualifié. Une intervention est nécessaire si l'appareil a été endommagé d'une façon ou d'une autre, si son cordon ou sa prise secteur ont été endommagés, si du liquide a été renversé ou si des objets sont tombés à l'intérieur, ou encore si l'appareil a été exposé à la pluie ou à l'humidité, s'il ne fonctionne pas normalement, ou s'il est tombé.

15 Débrancher l'appareil du réseau électrique

par la prise de secteur.

16 Avertissement : afin de réduire le

risque d'incendie ou de choc électrique, ne pas exposer cet appareil à la pluie ou à de l'humidité.

17 Avertissement : n'exposez pas cet

équipement aux éclaboussures et veillez à ce qu'aucun récipient rempli de liquide, verre ou vase, ne soit posé dessus.

18 Avertissement : la prise secteur doit

toujours rester directement accessible.

IMPORTANT SAFETY INSTRUCTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

INSTRUCTIONS DE SÉCURITÉ IMPORTANTES . . . . . . . . . . . . . . . . . . . . . iv

Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v

Chapter 1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Overview of the VeniceF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Key features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Control surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

External connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Mix matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Service and support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Chapter 2 Getting Started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Handling the equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Radio frequency interference . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Electric fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Connecting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Audio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Connecting to balanced/unbalanced equipment . . . . . . . . . . . . . . . 14

Other connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Setting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Switching the VeniceF on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Chapter 3 Using The VeniceF With FireWire. . . . . . . . . . . . . . . .17

Installing FireWire on a PC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Step A — Installing the device driver on your PC . . . . . . . . . . . . . . 17

Step B — Connecting the VeniceF to your PC . . . . . . . . . . . . . . . . . 20

Step C — Configuring the FireWire settings for the VeniceF . . . . . . . 22

Installing FireWire on a Mac . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Step A — Installing the device driver on your Mac . . . . . . . . . . . . . 25

Step B — Connecting the VeniceF to your Mac . . . . . . . . . . . . . . . . 27

Step C — Configuring the FireWire settings for the VeniceF . . . . . . . 27

Updating the FireWire driver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Troubleshooting FireWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Audio problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

No devices found . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Overcoming ground loop problems . . . . . . . . . . . . . . . . . . . . . . . . 28

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vi Contents

Chapter 4 Working With The Console . . . . . . . . . . . . . . . . . . . . 29

Ground loop problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Chapter 5 Mono Input Channel . . . . . . . . . . . . . . . . . . . . . . . . . 31

Overview of the mono input channel . . . . . . . . . . . . . . . . . . . . . . . . .32

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

FireWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Auxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Pan, routing, mute and solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Fader and meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Chapter 6 Dual Stereo Input Channel . . . . . . . . . . . . . . . . . . . . 43

Overview of the dual stereo input channel . . . . . . . . . . . . . . . . . . . . .44

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Gain (stereo mic inputs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

FireWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Stereo line inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Auxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Pan, routing, mute and solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Group sends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Fader and meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Chapter 7 Output Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Overview of the outputs section . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Output module notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Group-aux changeover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Meter changeover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

FireWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Matrices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Stereo returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Auxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Master outputs (mono and stereo) . . . . . . . . . . . . . . . . . . . . . . . . . .66

Signal generator and talkback . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Playback and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Local monitor and phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Lamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Appendix A Functional Block Diagrams . . . . . . . . . . . . . . . . . . . . 73

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Mono input module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

Stereo input module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

Operator Manual

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Contents vii

Stereo return . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Aux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Stereo master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Mono master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Solo and comms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Digital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Appendix B Technical Specification. . . . . . . . . . . . . . . . . . . . . . . .87

Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Appendix C Application Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Headroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

The effect of EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Dynamic processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Unity Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Signal Processing and Amplifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

FOH mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

MON mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Dual FOH/MON Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Appendix D Crib Sheets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Mono input channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Dual stereo input channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Appendix E Best Grounding Practice. . . . . . . . . . . . . . . . . . . . . .101

Safety first . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Ground loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Noise sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Noise solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Balanced connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Balanced transformers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Screen termination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Ground referenced connections . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Unbalanced connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Signal ground lift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

XLR shells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Signal ground bonding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Appendix F Service Information . . . . . . . . . . . . . . . . . . . . . . . . .111

Routine maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Cleaning the console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Special accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Optional equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Equipment disposal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

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Operator Manual

VeniceF

Chapter 1: Introduction

Thank you for choosing a Midas VeniceF mixing console. The VeniceF range of consoles have been developed to meet the needs of demanding live sound engineers and provide the solution for any audio mixing application in live sound or studio environments. The VeniceF meets the quality of build and performance that you would expect from a Midas console.

VeniceF32

The VeniceF was conceived by Midas to offer audio professionals high-performance audio equipment, designed to provide no-compromise sonic quality with a feature set that offers all essential facilities and functions. It represents the very best of British design and engineering combined with contemporary, efficient manufacturing methods, and will give you many years of reliable service.

Midas has total confidence in the quality and reliability of this product. To back this up, this product comes with the standard Midas three year warranty.

Please take the time to register your product by completing and returning the registration card or by registering on our website at www.midasconsoles.com.

So, to obtain the best results with a minimum of effort, please read this Operator Manual and, finally, enjoy your Midas VeniceF!

Overview of the VeniceF

The VeniceF is a premium quality, robust, live sound and studio, small format mixing console. The VeniceF is available in three sizes — F16, F24 and F32 — and there is also a rack mount version (F16R). The incorporation of FireWire®, bridges the gap between analogue and digital audio consoles by offering the user the ease-of-use, warmth, feel, and zero-latency of analogue, combined with the power, choice and flexibility of outboard digital processing. Physically, it’s a one-piece solution provided in a substantial chassis with cosmetic trim suitable for use and storage in a road flight case (not provided). All circuitry — analogue, digital and power — is housed inside this box.

Equally at home as an all-purpose front of house (FOH) or studio console, the VeniceF can also be used for monitors. The VeniceF is quickly and easily configurable, with each mono input channel offering microphone (mic) and line inputs, direct out and insert points, and a four-band fully swept equaliser stage. In addition, the VeniceF has a

VeniceF Operator Manual

2 Chapter 1: Introduction

flexible bus structure that lets the engineer configure the console for different applications.

The VeniceF consoles (F16 left, F24 top and F32 bottom)

All variants include four stereo input channels for use on stereo sources. These share single control knobs and have slightly different functionality as compared to the mono channels.

The VeniceF lets the user route to any of 13 other buses — six auxiliaries (including two monitors), four groups and three masters (stereo left and right, and mono). There are also two matrix buses, which are a submix of the master buses, and three solo buses (two after-fader listen (AFL) and one pre-fader listen (PFL)).

All major inputs and outputs are on balanced XLR connectors. The following table gives a ‘quick stats’ comparison of the VeniceF consoles (where: XLRF = XLR female; XLRM = XLR male; TRS = 1/4” TRS Jack; and RCA = phono plug).

Item F16 F24 F32

Mic inputs 8 mono and

4 stereo XLRF

Line inputs 8 mono and

4 stereo TRS

Aux returns 2 stereo TRS 2 stereo TRS 2 stereo TRS

Playback input 1 stereo RCA 1 stereo RCA 1 stereo RCA

Talkback mic input 1 XLRF 1 XLRF 1 XLRF

Aux mix buses (includes 2 monitors)

6 XLRM 6 XLRM 6 XLRM

16 mono and 4 stereo XLRF

16 mono and 4 stereo TRS

24 mono and 4 stereo XLRF

24 mono and 4 stereo TRS

Audio subgroups 4 XLRM 4 XLRM 4 XLRM

Matrices 2 XLRM 2 XLRM 2 XLRM

Stereo master output XLRM XLRM XLRM

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Key features 3

Item F16 F24 F32

Mono master output XLRM XLRM XLRM

FireWire (IEEE 1394) 16-channel,

FW400, 6-pin

The FireWire interface can be used with any personal computer (PC) fitted with an IEEE1394 port, and is effectively a digital multi-channel cable (up to 2 x 32-channels) for connecting the PC to the console. FireWire lets you use any third party audio processing software in conjunction with the console, and applications include multi-track recording, software-generated effects processors and “plug-ins” inserted on input channel FireWire send/returns.

24-channel, FW400, 6-pin

32-channel, FW400, 6-pin

Key features

The VeniceF consoles include the following key features:

• Sizes — available in 16, 24 and 32 input channel frame sizes.

• Midas mic preamps — 16/24/32 overload-tolerant Midas mic preamps (the last

eight being on four stereo modules), which accept +32dBu.

• Midas XL3 EQ — each mono channel has a Midas XL3, 4-band swept EQ with

2 parametric mids (treble, hi mid, lo mid and bass).

• 4-band EQs on stereo channels — 4-band fixed frequency EQs on stereo channels

and a sum-to-mono switch.

• Ease of use — easy to store, prep, configure, maintain, repair, transport,

set up/down and clean.

• Hybrid technology — analogue technology for sound processing and mixing, and

digital connectivity provided by FireWire. Analogue or digital (FireWire) input and analogue or digital (FireWire) direct output pre-EQ or post-EQ.

• FireWire — up to 32 x 32-channel FireWire interface that provides I/O connectivity,

which defaults to input channels, but can be switched to access buses. FireWire socket (6-pin) and sample rate and clock source LEDs.

• Mono input channels — mic/line in, insert (with in/out switch and LED) and direct

out (with a pre-EQ or post-EQ switch) per channel. Polarity switch on each channel.

• Dual stereo input channels — mic/line in left and in right (mic and line can be

used simultaneously with mic routed via the channel and the line inputs routed direct to masters), separate gain for the left and right inputs, and same mic amp functions as the mono inputs.

• Master channels — mono, left and right master channels, each with an insert.

• 15 Buses — 6 aux sends (includes 2 monitor (foldback) sends that are also

switchable pre-/post-EQ on an individual channel basis), 4 groups, 3 masters (2 stereo and a mono) and two matrices, all with hardware outputs.

• Returns — 2 additional stereo return line inputs.

• Local outputs — 2 local outputs (left and right).

• Routing — individual routing to stereo, mono and groups with pan-to-groups enable

switch. Individual group routing switches.

• Metering — 4-LED meter per mono and stereo input channels, 4 x 8-LED output

meters and 3 x 12-LED master meters.

• Faders — high-precision 100 mm faders on a horizontal fader panel.

• 48V phantom power — all analogue audio I/O is tolerant of 48V connection.

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4 Chapter 1: Introduction

1 32

• Mains power supply — universal power supply unit (PSU) with mains input socket

and on/off switch.

• Lamps — socket(s) for fitting lamps.

• Playback/record I/Os — input/output sockets for playback and recording.

• Warranty — standard Midas 3-year warranty.

Control surface

The surface of the VeniceF can be divided into the following main vertical sections.

Control surfaces of the VeniceF consoles showing the three mains areas

Item Description

1 See Chapter 5 "Mono Input Channel" on page 31 2 See Chapter 6 "Dual Stereo Input Channel" on page 43 3 See Chapter 7 "Output Section" on page 53

Operator Manual

VeniceF

Rear panel 5

710 8

6321

4 4

F32

F24

F16

Rear panel

The VeniceF has a rear panel that houses the following.

Rear panels of the VeniceF consoles showing the main areas

Item Description

1 See “Master outputs (mono and stereo)” on page 66. 2 See “Stereo returns” on page 63, “Groups” on page 57, “Matrices” on

page 61, “Monitors” on page 64 and “Auxes” on page 65.

3 See Chapter 6 "Dual Stereo Input Channel" on page 43. 4 See “Lamps” on page 71. 5 Ventilation grills. Do not obstruct. 6 See Chapter 5 "Mono Input Channel" on page 31. 7 See “FireWire” on page 35, page 46 and page 58. 8 See “Playback and recording” on page 69. 9 See “Local monitor and phones” on page 70. 10 See “Switching the VeniceF on/off” on page 16.

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6 Chapter 1: Introduction

Rear panel of the VeniceF16 showing the main connector sections

A. Inserts and returns. B. Mono input channel (insert, direct out, line in and mic in). C. Dual stereo channel (line in left and right, and mic inputs left and right). D. Playback

I/Os (left and right). E. Local monitor outputs. F. Aux, group, matrix and monitor outputs. G. Stereo and mono master inserts and outputs.

External connections

The following table details all of the external connections on the VeniceF.

Connection(s) Description Notes

All mic inputs Balanced XLR connectors,

All primary line inputs Balanced Jacks 10K load Mono and stereo channels

All inserts Jack connectors, 50R

Mono and stereo channels

2K load

Mono and master

source, 10K load

channels

Group, matrix and monitor buses

Stereo returns

VeniceF

Operator Manual

Signal flow 7

Connection(s) Description Notes

All primary outputs Balanced XLR connectors,

50R source

All secondary outputs (direct outs)

Headphone outputs Jack connectors, 10R

Playback left and right inputs and outputs

FireWire connections FireWire (FW 4000 6-pin)

Power connections IEC mains inlet

Balanced Jack connectors, 50R source

source (nominal +10dB)

Unbalanced phono connectors, 600R source (nominal -10dB)

connector to IEEE1394

4-pin XLR lamp power outlets

Master channels

Aux, group, matrix, monitor and local (monitor) buses

Tal k m i c i n talk mic section of outputs (control surface)

Mono channels

local monitor section of outputs (control surface)

Rear panel

Under top edge of rear of console

Signal flow

The following table gives an overview of the basic signal flow.

Channels or inputs Route to

8, 16 or 24 mono mic/line channels 2 monitor, 4 aux, 4 group and 3 master

4 stereo mic channels 2 monitor, 4 aux, 4 group and 3 master

4 stereo line inputs The same numbered stereo channel and

2 stereo return channels 2 monitor, group 1-2 (return 1) and

4 group channels 3 master and 2 matrix buses

3 master channels 2 matrix buses

4 aux channels N/A

2 monitor channels N/A

2 matrix channels N/A

buses, and FireWire (8, 16 or 24 channels)

buses, and FireWire (8 channels)

then onwards (as above) or the stereo master bus

group 3-4 (return 2), and the stereo master buses

All channel types can also access the PFL, and AFL (left and right) solo buses.

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8 Chapter 1: Introduction

The following table shows the signal flow in detail.

Signal Sourced from Routed to

Mono Balanced XLR mic/line

input or balanced Jack line Z input (common gain control with above) or FireWire connection or insert return

Stereo Balanced XLR mic/line

input and balanced Jack line Z input (independent gain control) or FireWire connection

Stereo return Balanced Jack Buses

Group Bus Master and matrix buses,

Aux Bus Insert Jack, monitor

Monitor Bus Insert Jack, monitor

Buses, insert Jack, direct output Jack and FireWire connection

Buses and FireWire connection

insert Jack, group output balanced XLR and optional FireWire connection (in place of stereo input channel)

output balanced XLR and optional FireWire connection (in place of stereo input channel)

Matrix Insert Jack Insert Jack, matrix output

balanced XLR and optional FireWire connection (in place of stereo input channel)

Stereo master bus Bus, input channels,

group buses, stereo returns or playback

Mono master bus Bus, input channels,

group buses, stereo returns or sum of stereo bus

Insert Jack, master output balanced XLR and optional FireWire connection (in place of stereo input channel)

Insert Jack and master output balanced XLR

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VeniceF

Mix matrix 9

6 aux buses

(include 2 monitors)

3 master (stereo

and mono) buses

4 group

buses

8/16/24 mic/line inputs 8 mic/line return inputs

2 matrix

buses

Bus outputs

3 solo buses

Mix matrix

Ultimately, the mix matrix defines the capability of each VeniceF. It follows the console layout, where inputs run vertically and buses run horizontally. A mix matrix is usually defined as the number of buses and the quantity of simultaneously-mixable inputs there are per bus.

VeniceF mix matrix

About this manual

This is the Operator Manual for the VeniceF. Its purpose is to familiarise the user with the VeniceF and show how to install, set up, configure and operate the VeniceF.

This manual uses the following conventions:

• The exclamation mark (shown right) is intended to alert the user to important operating instructions.

• The drawing pin (shown right) appears next to useful information, which provides hints and tips.

• There are diagrams throughout the manual that show you where on the console the local information is referring to. These areas are indicated by blue shading. For example, the mono input channels, as shown right.

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10 Chapter 1: Introduction

• Unless otherwise stated, an illuminated LED means that its related control/function is on and when extinguished it is off.

• Although this manual is based on the VeniceF32 (pictures shown throughout), the information also applies to the F16 and F24 models unless stated otherwise.

Trademarks

FireWire and the FireWire symbol are trademarks of Apple Inc., registered in the U.S. and other countries. The FireWire logo is a trademark of Apple Inc.

Mac and the Mac logo are trademarks of Apple Inc., registered in the U.S. and other countries.

Microsoft and Windows are registered trademarks of Microsoft Corporation in the United States and other countries.

Service and support

We provide superb levels of support and service to give users confidence in Midas products. For more information, please contact your local distributor or Midas at the address shown in the front of this manual.

Operator Manual

VeniceF

Chapter 2: Getting Started

This chapter shows you how to prepare the VeniceF for operation, which includes:

• Installation

• Connecting up

• Setting up

•Powering up

Before installing, setting up or operating this equipment make sure you have read and fully understand all of the “IMPORTANT SAFETY INSTRUCTIONS” at the front of this document and observe the following precautions.

Installation

The position of the console will vary from venue to venue. When installing the console, take the following into consideration.

• Before installing and operating this Class 1 equipment, make sure it is correctly connected to the protective earth conductor of the mains voltage supply socket outlet through the mains lead.

• When positioning the console for FOH use 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 (for example, from a balcony).

• The console should be located in a convenient space commensurate with the use to which the console is being put.

• Ideally a cool area is preferred, away from power distribution equipment or other potential sources of interference.

• Do not install the equipment in places of poor ventilation.

• Do not install this equipment in a location subjected to excessive heat, dust or mechanical vibration. Allow for adequate ventilation around the equipment, making sure that its fans and vents are not obstructed. Whenever possible, keep the equipment out of direct sunlight.

• Do not place the equipment in an unstable condition where it might accidentally fall over.

• Provision should be made for some flat surface surrounding the console to prevent people using it as a table top.

Handling the equipment

When lifting or moving the equipment, always take its size and weight into consideration. If necessary, use suitable lifting equipment or transporting gear, or sufficient additional personnel.

Completely isolate the equipment electrically and disconnect all cables from the equipment before moving it.

Do not insert your fingers or hands in any gaps or openings on the equipment, for example, vents.

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12 Chapter 2: Getting Started

Radio frequency interference

This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense.

Electric fields

In accordance with Part 15 of the FCC Rules & Regulations, “… changes or modifications not expressly approved by the party responsible for compliance could void the user's authority to operate the equipment.”

Should this product be used in an electromagnetic field that is amplitude modulated by an audio frequency signal (20Hz to 20kHz), the signal to noise ratio may be degraded. Degradation of up to 60dB at a frequency corresponding to the modulation signal may be experienced under extreme conditions (3V/m, 90% modulation).

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Connecting up 13

123

Connecting up

To ensure the correct and reliable operation of your equipment, only high quality, balanced, screened, twisted pair audio cable should be used.

XLR connector shells should be of metal construction so that they provide a screen when connected to the console and, where appropriate, they should have Pin 1 connected to the cable screen.

All Jack connector shells should be connected to the cable screen.

Audio connections

This section gives details of the audio connections of the VeniceF.

Table 1: Connector pinouts

Connector on rear panel Example of plug Pinouts Example of socket

Male XLR chassis connector (output)

Female XLR chassis connector (mic input)

Pair of RCA connectors (tape in/out)

1/4” TRS Jack plug (inserts)

1 = ground 2 = hot 3 = cold

1 = ground 2 = signal

1 (tip) = send 2 (ring) = return 3 (sleeve) = ground

1/4” TRS Jack plug (input, output)

VeniceF Operator Manual

1 (tip) = hot 2 (ring) = cold 3 (sleeve) = ground

14 Chapter 2: Getting Started

Female XLR

Male XLR

Sleeve

Ring

Tip

Male XLR

Tip

Sleeve

Ring

Female XLR

Input and output

sockets on rear of

external device

Rear of VeniceF console

1/4” TRS Jack

Screen

Send

Return

Send

Return

Tip

Sleeve

Ring

Sockets on

rear of

external

device

Rear of VeniceF console

Sleeve

Ring

Tip

1/4” TRS Jack

Sleeve

Tip

Input

Output

Sleeve

Tip

Screen

Input

Output

1/4” TS Jack

Connecting to balanced/unbalanced equipment

The inserts of the VeniceF are unbalanced. Ideally, you will be connecting the inserts to balanced equipment to help avoid noise problems due to grounding.

Figure 1: Connecting to balanced equipment

However, if you do have to connect to unbalanced devices, the following wiring is recommended for best results.

Figure 2: Connecting to unbalanced equipment

Important: If you have any audio problems, see Appendix E "Best Grounding Practice" on page 101.

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Connecting up 15

123

Other connections

The section gives details of the other VeniceF interconnections.

Description Example Pinouts Example of socket

4-pin, male XLR chassis connector(s) on the rear panel for connecting 12V/5W lamp(s)

1-off socket in the FireWire section of the rear panel for connecting a 6-pin, FireWire 400 connector

Important: If you have any audio problems these may be due to ground loops (see Appendix E "Best Grounding Practice" on page 101).

1 = N/A 2 = N/A 3 = ground 4 = 12V

N/A

Headphones socket in the local monitor section of the control surface for connecting a 1/4” TRS Jack plug. There is also one under the armrest on the desktop versions.

1 (tip) = left 2 (ring) = right 3 (sleeve) = ground

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16 Chapter 2: Getting Started

Setting up

There is no initial setting up required for the VeniceF console. However, if you want to use FireWire, you will need to set up you PC first (see Chapter 3 "Using The VeniceF With FireWire" on page 17).

Switching the VeniceF on/off

Switch the VeniceF on/off via the mains switch on the rear panel.

Mains power supply input on the rear panel. A. Mains on/off switch. B. Mains power supply socket (IEC connector).

Operator Manual

VeniceF

Chapter 3: Using The VeniceF With FireWire

This chapter shows you how to prepare your PC/Mac for using FireWire, how to update the FireWire driver and how to troubleshoot FireWire. For information on how to use FireWire with the ‘bundled’ recording software, refer to the Software Application Guide.

Installing FireWire on a PC

This section shows how to install and set up FireWire on a PC running the Windows® operating system. This procedure comprises three main steps:

• “Step A — Installing the device driver on your PC”

• “Step B — Connecting the VeniceF to your PC”

• “Step C — Configuring the FireWire settings for the VeniceF”

Step A — Installing the device driver on your PC

Do not connect the FireWire cable to the PC before installing the device driver.

Important: Before installing the FireWire device driver from the VeniceF USB memory stick, we recommend that you make sure it is the latest version by checking the www.midasconsoles.com website. This is important, as you may not be able to use FireWire properly with an older version of the device driver.

>> To install the FireWire device driver

1 The FireWire device driver software is on the VeniceF USB memory stick. Plug

the VeniceF USB memory stick into your PC. (Depending on your PC’s configuration, a window may open asking you what you want Windows to do. If so, select the Open folder to view files option and then click OK.)

2 On the USB memory stick, double-click the “MidasFW-Installer.exe” file to start

the setup wizard.

3 In the Setup - Midas FW window

(right), click Next.

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18 Chapter 3: Using The VeniceF With FireWire

4 In the Select Destination Location

window, click Next.

You can change the install location by typing it in or using the browse facility.

5 In the Select Additional Tasks

window, click Next.

You can choose to create a desktop icon by selecting the Create a

desktop icon option.

6 If the installer’s release notes appear,

close them. Then, in the Ready to Install window, check that the information is correct and click Install.

7 The Installing window will display the

progress of the installation.

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Installing FireWire on a PC 19

8 If the Windows “Logo testing”

compatibility window appears, click

Continue Anyway.

9 To complete the installation, select the

Yes, restart the computer now option and then click Finish.

You must restart your PC before using the VeniceF driver you have just installed.

After restarting your PC, proceed to the next step (see “Step B — Connecting the VeniceF to your PC” on page 20).

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20 Chapter 3: Using The VeniceF With FireWire

6-pin (VeniceF)

9-pin

4-pin

Step B — Connecting the VeniceF to your PC

Important: The VeniceF must be switched on before the FireWire cable is connected to it.

When you use your PC with the VeniceF for the first time after installing the FireWire device driver, you will need to install the VeniceF device software. This is so that your PC will recognise the VeniceF whenever they are connected together.

>> To connect the PC to the console

Do not attempt the following procedure until you have completed Step A (see “Step A — Installing the device driver on your PC” on page 17).

1 Switch on the VeniceF. 2 Connect the VeniceF to the PC using the appropriate FireWire cable, while

observing the following precautions. Plug the 6-pin connector into the FireWire socket of the FireWire section on the rear of the console. Connect the other end of the cable into the PC.

Figure 3: Some typical FireWire connectors

Make sure you use the correct FireWire cable connector with your PC.

When plugging the FireWire connector into your PC, make sure the connector is the correct way up and take great care not to exert too much force.

3 In the Found New Hardware Wizard

window, select the No, not this time option and then click Next.

VeniceF

Operator Manual

Installing FireWire on a PC 21

4 For standard installation, select the

Install the software automatically (Recommended) option and then click Next.

5 The wizard will perform a search for

the correct driver. When it has finished, click Next.

6 When the Windows “Logo testing”

compatibility window appears, click

Continue Anyway.

7 The driver will now be installed.

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22 Chapter 3: Using The VeniceF With FireWire

8 After the wizard has finished installing

the driver, click Finish.

After the device hardware has been successfully installed, you will see a Found New Hardware balloon on your desktop.

You are now ready to configure the VeniceF FireWire settings (see Step C below).

Step C — Configuring the FireWire settings for the VeniceF

In general, you should be able to use your recording software application on your PC/Mac quite successfully using the default FireWire settings. However, you can change the settings, if desired (for example, if you have audio problems), which is done in the Midas FW FireWire settings window.

Configuration of the VeniceF’s FireWire settings involves opening the Midas FW settings window, selecting your desired options and then closing the window.

>> To open the Midas FW settings window

1 On your PC/Mac desktop, double-click

the Midas FW icon.

2 If no devices are found, you will see

the message shown right. Make sure the PC/Mac and console are properly connected together with the FireWire cable, and then click ok.

3 The Midas FW settings window will

open. In the Devices section you should see the Venice icon (shown right).

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Installing FireWire on a PC 23

1 32 4

91011

>> To change the FireWire settings

Use the drop-down lists and buttons on the Midas FW settings screen to change the FireWire settings, as desired, using the following diagram and the accompanying list of associated elements to guide you.

Note: The settings available for configuration may be dependent on a number of variables, such as the hardware specification of the PC, the type of operating system you are using, the recording software application, etc. The setting you may want to adjust may be available for change in the recording software application itself.

Mains elements of a typical Midas FW screen (PC version)

Item Element Description

1 WDM button

The WDM

button lets you select a different audio

device driver, such as Sonar.

2 Sample Rate

drop-down list

This drop-down list lets you select the sample rate (samples per second) for the VeniceF. Options are

44.1kHz and 48kHz.

3 Info button Use this button to check the software version of the

driver.

4 Master drop-down

list

This drop-down list shows the clock source. (This will be always be set to Venice.)

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24 Chapter 3: Using The VeniceF With FireWire

Item Element Description

5 Buffer Size

drop-down list

6 Operation Mode

drop-down list

7 Venice icon This icon shows you that the PC/Mac recognises the

8 Devices panel This panel shows you what FireWire device(s) are

9 Device

description field

10 Nickname field This field gives a shortened description of the

11 Measured

Sampling Rate

field

This drop-down list lets you select the buffer size that the PC/Mac will use for the recording software.

Select buffer size according to your equipment, remembering that if it is too small you will suffer audio clicks and pops, and if it is too large there will be audible delays (latency).

This drop-down list lets you select another operating mode if you are having problems with the audio. (Default = normal.)

connected device as a VeniceF and that the connection is good.

connected to your PC/Mac. If the message “no devices found” appears in this panel, see “No devices found” on page 28.

This field gives details of the selected device.

selected device.

This field shows the sampling rate of the currently connected device.

1. Windows Driver Models (WDMs) are audio device drivers for the Microsoft® Windows® family of operating systems.

>> To select an option from a drop-down list

Click the up/down arrow box of the drop-down list to open it, and then click the desired option.

>> To close the Midas FW window

Click “X” at the upper-right corner of the Midas FW window.

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Installing FireWire on a Mac 25

Installing FireWire on a Mac

This section shows how to install and set up FireWire on a Mac. This procedure comprises the following main steps:

• “Step A — Installing the device driver on your Mac”

• “Step B — Connecting the VeniceF to your Mac”

• “Step C — Configuring the FireWire settings for the VeniceF”

Step A — Installing the device driver on your Mac

Do not connect the FireWire cable to the Mac before installing the device driver.

>> To install the FireWire device driver

1 The FireWire device driver software is on the VeniceF USB memory stick. Plug

the VeniceF USB memory stick into your Mac.

2 On your Mac, locate the “MidasFW-

x.x.x-xxxx-osx” folder on the USB memory stick — which should be in the “Driver” folder — and double-click it to open it.

3 In the“MidasFW-x.x.x-xxxx-osx” folder,

double-click the “MidasFW.dmg” file.

4 In the disk image file window,

double-click the “MidasFWx.x.x.xxxx.pkg” package file to start the Midas FW driver installer.

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26 Chapter 3: Using The VeniceF With FireWire

5 At the Introduction stage of the

installation procedure, observe the driver release notes and then click

Continue.

6 If your Mac has another hard drive

connected, the Destination Select stage will let you select another install location. Otherwise, go to the next step.

7 At the Installation Type stage, click

Install. (If a password window

appears, enter your password and continue.)

8 At the Installation stage, click

Continue. Your Mac will start

installing the driver.

9 After the driver has been installed

successfully, your Mac will display the window shown right at the Summary stage. Click Restart.

Your Mac will reboot automatically. After it has restarted it is ready to use.

You must make sure that you Mac has restarted before using the VeniceF driver you have just installed.

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Updating the FireWire driver 27

Step B — Connecting the VeniceF to your Mac

Important: The VeniceF must be switched on before the FireWire cable is connected to it.

>> To connect the Mac to the console

Do not attempt the following procedure until you have completed Step A (see “Step A — Installing the device driver on your Mac” on page 25).

1 Switch on the VeniceF. 2 Connect the VeniceF to the Mac using the appropriate FireWire cable (see

Figure 3 “Some typical FireWire connectors” on page 20), while observing the following precautions

Make sure you use the correct FireWire cable connector with your Mac.

When plugging the FireWire connector into your Mac, make sure the connector is the correct way up and take great care not to exert too much force.

Step C — Configuring the FireWire settings for the VeniceF

In general, you should be able to use your recording software application quite successfully using the default FireWire settings. However, you can change the settings if you want (for example, if you have audio problems) in the Midas FW FireWire settings window. For details of how to configure the VeniceF’s FireWire settings, see “Step C — Configuring the FireWire settings for the VeniceF” on page 22.

Updating the FireWire driver

The latest version of the FireWire driver for the VeniceF will be available on the Midas website (address is on the front cover of this manual).

>> To update your PC/Mac with the latest driver

1 Download the latest VeniceF FireWire driver from the Midas website onto your

PC/Mac. There should be two drivers available — one each for a PC and Mac — so make sure you download the correct one.

2 Install the latest VeniceF FireWire driver (see “Installing FireWire on a PC” on

page 17 or “Installing FireWire on a Mac” on page 25). You don’t have to uninstall the existing VeniceF FireWire driver, as this it will be overwritten by the new one.

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28 Chapter 3: Using The VeniceF With FireWire

Troubleshooting FireWire

The following subsections may help you overcome any problems that may arise when using FireWire.

Audio problems

If you encounter any problems with the audio, for example, when recording, try changing the FireWire settings (see “Step C — Configuring the FireWire settings for the VeniceF” on page 22).

No devices found

Important: The VeniceF must be switched on before the FireWire cable is connected to it.

If you see a ‘no devices found’ message, it means that the PC cannot detect a FireWire device. To clear the message, do one of the following:

• Connect the VeniceF to the PC.

•If the VeniceF is already connected to the PC, check that the connections are good.

Overcoming ground loop problems

See Appendix E "Best Grounding Practice" on page 101.

Operator Manual

VeniceF

Chapter 4: Working With The Console

The following chapters give a description of the controls on the console surface and include useful operating information.

• Chapter 5 "Mono Input Channel" on page 31

• Chapter 6 "Dual Stereo Input Channel" on page 43

• Chapter 7 "Output Section" on page 53

Before using FireWire, read Chapter 3 “Using The VeniceF With FireWire”.

Ground loop problems

In the event of ground loop problems, disconnect the signal screen at one end of the connecting cables. Note that this can only be done when the equipment is used with balanced cable systems. For more information, see Appendix E "Best Grounding Practice" on page 101.

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30 Chapter 4: Working With The Console

Operator Manual

VeniceF

Chapter 5: Mono Input Channel

This chapter details the mono input channels (8/16/24) of the VeniceF. It describes the sections of each channel on the control surface and the related connectors on the rear panel.

Mono input channels on the control surface (F32 shown)

Although the actual number of mono input channels on your VeniceF will depend upon your choice of frame, their function remains the same.

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32 Chapter 5: Mono Input Channel

Overview of the mono input channel

Each mono channel has an XLR input that can be used for mic or line level signals up to +32dBu. An additional 1/4” inch TRS Jack socket, provides an input for line level signals that require protection against accidental 48-volt connection. The line input gives 10dB of permanent attenuation to the input signal, which allows the connection of extremely high line level signals of up to +42dBu with the pad engaged.

Item Section

1 Gain (see “Gain” on page 34) 2 FireWire and direct output section (see “FireWire” on

page 35)

3 Insert and EQ (see “Insert” on page 35 and “EQ” on page 36) 4 Monitor and aux contributions (see “Monitors” on page 37

and “Auxes” on page 38)

5 Pan and routing (see “Pan, routing, mute and solo” on

page 39)

6 100 mm fader and meter (see “Fader and meter” on page 41)

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Rear panel 33

Rear panel

The VeniceF channel inputs are located on the rear panel of the console and each channel comprises the following.

Mono input channel connectors

Item Description

1 insert connector Insert point on a single 1/4” TRS Jack socket. This is

unbalanced and requires a conventionally-wired insert lead.

2 direct out connector Direct output on a single, balanced 1/4” TRS Jack

socket.

3 line in connector Line in on a single, balanced 1/4” TRS Jack socket. 4 mic connector Mic input on a single, balanced XLR female chassis

connector.

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

Balanced XLR and Jack inputs are conventionally wired (see Table 1 “Connector pinouts” on page 13).

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34 Chapter 5: Mono Input Channel

Gain

This section lets you adjust the level of the mic input signal, switch on 48 volts phantom power for the mic, attenuate the input signal by 20dB, invert the mic polarity and enable the high pass filter on the mic input.

Mic gain section of the mono input channels

Item Description

1 20dB pad switch This pad switch provides 20dB 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 meter by the red LED at the top (see “Fader and meter” on page 41).

2 mic gain control knob The mic gain is continuously variable from +10dB

to +60dB (-10dB to +40dB with the pad enabled). The actual value of the gain required will depend upon the source and should ideally be set such that peaks in level on the input should not cause the input amplifier to overload (occasional peaks of +12dB are OK, but +18dB is too high).

3 80Hz switch The hi pass switch inserts the 80Hz hi pass filter in the input

channel signal path before the insert point and EQ. This is commonly used to remove handling noise from a mic, bass rumble through coupling with the stage or any unwanted low frequency audio.

4 mic Ø switch This is a microphone polarity switch that 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 Ø 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 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.

5 48V LED and power switch The power switch applies 48 volts of

phantom power to the microphone input. This is used to power condenser microphones, direct inject boxes and other devices that require phantom power. The 48V LED illuminates to show that phantom power is on.

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Operator Manual

FireWire 35

FireWire

This section lets you select the channel input source as mic/line (analogue) or FireWire (digital) and select the FireWire output signal as pre-EQ or post-EQ. For more information on FireWire, see Chapter 3 "Using The VeniceF With FireWire" on page 17.

FireWire section of the mono input channels

Item Description

1 input switch and green LED The green FireWire input switch breaks the

mic and line signals, making the channel input FireWire only and, effectively, creating a FireWire insert point (when combined with the FireWire direct output). The green LED illuminates to show when the switch is on.

Insert

Important: To avoid a feedback loop, take care not to switch FireWire sends to post-EQ when using FireWire inputs as digital insert returns.

2 firewire & direct out switch Switches the signal, which is routed to the

FireWire output and direct out, to pre-EQ (button out) or post-EQ (button in).

This insert switch enables the channel’s analogue insert point, by connecting the insert return to the channel signal path. This lets you use traditional compressor, gates or other dynamic and signal processors or effects with the console. The yellow LED illuminates to show when the insert is enabled.

Insert section of the mono input channels

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36 Chapter 5: Mono Input Channel

Each mono input channel of the VeniceF has a four-band, swept EQ, allowing tonal control over the input signal.

EQ section of the mono input channels

Item Description

1 Treble gain/freq control knob This dual-concentric control knob adjusts

the gain/frequency of the treble EQ:

• gain The top control knob adjusts the gain of the treble band, which is

continuously variable from -15dB to +15dB with a centre detent of 0dB.

• freq The bottom control knob adjusts the centre frequency of the treble

band, which is continuously variable from 2kHz to 20kHz.

2 Hi mid gain/freq control knob This dual-concentric control knob adjusts

the gain/frequency of the hi mid EQ:

• gain The top control knob adjusts the gain of the hi mid band, which is

continuously variable from -15dB to +15dB with a centre detent of 0dB.

• freq The bottom control knob adjusts the centre frequency of the

hi mid band, which is continuously variable from 400Hz to 8kHz.

3 Hi mid width control knob This hi mid control knob adjusts the filter

bandwidth.

4 Lo mid width control knob This lo mid control knob adjusts the filter

bandwidth.

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Monitors 37

Item Description

5 Lo mid gain/freq control knob This dual-concentric control knob

adjusts the gain/frequency of the lo mid EQ:

• gain The top control knob adjusts the gain of the lo mid band, which is

continuously variable from -15dB to +15dB with a centre detent of 0dB.

• freq The bottom control knob adjusts the centre frequency of the

lo mid band, which is continuously variable from 100Hz to 2kHz.

6 Bass gain/freq control knob This dual-concentric control knob adjusts

the gain/frequency of the bass EQ:

• gain The top control knob adjusts the gain of the bass band, which is

continuously variable from -15dB to +15dB with a centre detent of 0dB.

• freq The bottom control knob adjusts the centre frequency of the bass

band, which is continuously variable from 20Hz to 200Hz.

7 EQ switch and red LED The EQ switch enables the EQ. With EQ disabled,

adjustment of the EQ controls has no effect. This can be used to compare the sound with and without EQ. The red LED illuminates to show that EQ is enabled.

Monitors

The two monitor sends per input channel have the same functionality as the auxes (see “Auxes” on page 38). However, they have the following additional features:

• They can be sourced pre-EQ.

• They can be metered individually (see “Monitors” on page 64).

• They can receive a contribution from the stereo returns (see “Stereo returns” on

• They have individual talk buttons (see “Signal generator and talkback” on page 68).

Monitor section of the mono input channels

page 63).

Item Description

1 Monitor control knob The monitor control knobs give continuous

adjustment of the signal sent from the input channel to the monitor buses (default is post-fader and post-EQ) in the range

4 (infinity/off) to +6dB.

Either monitor send can be sourced pre-fader globally using the pre switch in the output section (see “Monitors” on page 64).

VeniceF Operator Manual

2 pre eq switch Changes the source of the monitor sends to pre-EQ,

provided the bus is set to be pre-fader via the pre switch in the output section (see “Monitors” on page 64).

38 Chapter 5: Mono Input Channel

Auxes

The VeniceF has four aux sends per input channel, which can be used for effects sends, monitors or as extra assignable outputs from the console. Each aux has a control knob that gives continuous adjustment of the level sent from the input channel to the aux buses, in the range 4 (infinity/off) to +6dB.

Aux sections of the mono input channels

Auxes are post-EQ and post-fader, but each of the four aux buses can be independently switched globally to pre-fader using the pre switch in the outputs section (see “Auxes” on page 65).

• 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 bus is proportional to the aux send control and the channel fader.

• Pre-fade aux sends are sourced after the channel insert, mute and EQ, but before

the channel fader. As a result, the actual level sent to the aux bus is proportional to the aux send control only.

The following table shows some typical uses for auxes.

Application Pre-/Post-fade Reason

Stage monitors Pre-fade (post-EQ) The level in the monitor stays constant,

so that the engineer can change the FOH fader level without affecting the performer.

Effect sends Post-fade (post-EQ) The level sent to the effects is

proportional to the level on the fader, so the balance between wet (processed) and dry (unprocessed) sound stays the same, even when the channel level is changed.

Mixed recording Post-fade (post-EQ) If the aux is set to unity the FOH mix is

replicated on the aux output. This includes EQ, but excludes pan.

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Pan, routing, mute and solo 39

Pan, routing, mute and solo

The VeniceF is a flexible mixing console with four group buses plus stereo and mono.

Groups and solo sections of the mono input channels

Item Description

1 Group switches Each group switch routes the channel signal to its

associated group bus (as described later in this section).

2 mono switch This switch routes the channel signal to the mono bus

(post-EQ, post-mute and post-fader).

3 stereo switch Routes the channel signal to the stereo master bus

(post-EQ, post-pan, post-mute and post-fader).

4 pan control knob The pan control allows the channel signal to be

positioned in a stereo field when routed to the stereo bus, or when group sends are configured to be stereo. 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 (that is, -3dB at the centre).

5 pan to groups switch The VeniceF’s group sends may be configured by

pressing this switch for stereo group operation or released for mono group mode (as described later in this section).

6 MUTE switch and red LED The MUTE switch mutes the channel signal.

The signal will still be sent to the insert point and to the direct output. The mute LED illuminates to show that the MUTE switch is on.

7 SOLO switch and yellow LED With solo enabled the channel signal is

sent to the after-fade listen (AFL) stereo and pre-fade listen (PFL) mono buses. The left and right local monitor outputs can be used, for example, when operating from within a booth to hear selected solos and not the whole mix. The solo LED illuminates to show when a solo is on.

The signal can be routed to any of the four group buses by pressing the corresponding group select switch.

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40 Chapter 5: Mono Input Channel

Group routing, which is post-EQ, post-mute and post-fader, can be configured in either of two modes:

• Pre-pan (mono) Each group is sent the same mono signal, so that, for example,

selecting 1, 2 and 3 will send to each group equally.

• Post-Pan (stereo) 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 bus and the right signal to the even numbered bus. Selecting groups 1, 2 and 3 with pan hard left will result in the signal being routed to groups 1 and 3 only. Similarly, with pan hard right, the signal will be sent only to group 2.

This configuration is made by pressing the pan to groups button 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:

Application Configuration Reason

Submix Stereo Submix of drum kit.

Submix Mono Vocals with inserted compressor

(multiple vocals feed the same compressor).

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Fader and meter 41

Fader and meter

The VeniceF has a 100 mm fader and a four-LED signal meter per mono input channel.

Fader section of the mono input channels

Item Description

1 LED meter These four LEDs comprise the input channel meter, which lets

you monitor the input signal without having to use the PFL. The red +18 LED will also show any overload activity on the FireWire and direct output.

2 Fader This channel fader allows for continuous adjustment of the channel

level from stereo, mono and group buses will be at unity, that is, no adjustment in level from the input.

The 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.

The LEDs represent the following:

• 18 (red): +18dB, overload (peak). This LED also monitors the FireWire/insert send

signals to highlight any possible digital clipping that may be masked by attenuation in the EQ stages.

• 12 (yellow): +12dB, high level.

• 0 (green): 0dB, normal level.

• -18 (green): -18dB, shows that a signal is present.

4 (infinity/off) to +10dB. At 0dB the output of the channel to the

Note: The meter and direct output, which are fed from the same source, are post-insert and switchable pre-EQ/post-EQ, but pre-fader and pre-mute. They are both unaffected by the channel mute.

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42 Chapter 5: Mono Input Channel

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VeniceF

Chapter 6: Dual Stereo Input Channel

This chapter details the dual stereo input channels of the VeniceF. It describes the sections of each dual stereo channel on the control surface and the related connectors on the rear panel.

Dual stereo input channels on the control surface

All types of VeniceF have four pairs of dual stereo input channels.

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44 Chapter 6: Dual Stereo Input Channel

Overview of the dual stereo input channel

The VeniceF dual stereo channel (shown right) is equipped with two XLR inputs, which are used for mic/line level signals up to +32dBu. Two 1/4” TRS Jack sockets provide inputs for line level signals that require protection against accidental 48-volt connection. The line inputs accept signals up to +28dBu and have +20dB of gain available.

Item Section

1 Stereo mic input gain (see “Gain (stereo mic inputs)” on

page 46).

2 FireWire (see “FireWire” on page 46). 3 Stereo line input gain (see “Stereo line inputs” on page 47). 4 EQ (see “EQ” on page 48). 5 Monitors and auxes (see “Monitors” on page 49 and “Auxes”

on page 49).

6 Groups, panning and solo (see “Pan, routing, mute and solo”

on page 50 and “Fader and meter” on page 52).

7 Fader (see “Fader and meter” on page 52).

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Rear panel 45

Rear panel

The VeniceF channel inputs are located on the rear panel of the console.

Dual stereo input channel connectors

Item Description

1 line in left Line in on a single, balanced 1/4” TRS Jack socket. 2 line in right Line in on a single, balanced 1/4” TRS Jack socket. 3 mic l Mic input on a single, balanced XLR female chassis connector. 4 mic r Mic input on a single, balanced XLR female chassis connector.

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46 Chapter 6: Dual Stereo Input Channel

Gain (stereo mic inputs)

This section has the same functionality as the gain section of the mono input channels except for the following. For full details, see “Gain” on page 34.

• 20dB pad switch On dual stereo input channels the pad switch has no effect upon

the left and right line levels. Overloads are indicated on the meter by the red LED at the top (see “Fader and meter” on page 52).

• mic gain control knob This is a dual-concentric mic gain knob. The adjacent left/right symbol informs you that top control knob adjusts the left channel and the bottom one adjusts the right channel.

• 80Hz switch On dual stereo channels, this switch has no effect upon the left and right line inputs.

• left Ø switch On dual stereo channels, this microphone phase switch causes a 180-degree phase change (with respect to the input signal) in the left input amplifier only, such that the channel signal will have opposite polarity to the input signal. This switch has no effect upon the left and right line inputs.

Mic gain section of the dual stereo input channels

FireWire

Similarly to the mono input channel, this section lets you select the channel input source as mic/line (analogue) or FireWire (digital) and select the FireWire output signal as pre-EQ or post-EQ (see “FireWire” on page 35). In addition, this section has an orange firewire out LED that shows you whether or not the FireWire signal is sourced from the local dual stereo input channel (see “FireWire” on page 58).

FireWire section of the dual stereo input channels

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Stereo line inputs 47

Stereo line inputs

This section lets you adjust the level of the stereo line input signal, solo the signal and route it to the channel or directly to masters.

Stereo line input section of the dual stereo input channels

Item Description

1 stereo line gain control knob Adjusts the stereo line gain, which is

continuously variable from 0dB, thus allowing low level line signals to be trimmed to obtain the optimal signal level.

2 solo switch and yellow LED Sends the channel signal to the AFL stereo

and PFL mono buses. The left and right local monitor outputs can be used, for example, when operating from within a booth to hear selected solos and not the whole FOH mix.

The solo LED illuminates to show when the SOLO switch is on.

4 channel/masters switch With this switch in the channel position, the

local stereo line input is routed normally through the channel.

However, in the masters position, the stereo line input is routed to the stereo master left and right channels (see “Master outputs (mono and stereo)” on page 66). This is particularly useful if you require extra inputs. For example, you can use the stereo line input for a reverb return routed directly to the masters, while still normally using the stereo mic inputs through the channel.

Note: The all stereo line to masters MUTE switch (see “Master outputs (mono and stereo)” on page 66) is a global mute for any stereo line inputs routed directly to masters.

4 (infinity/off) to +20dB with a centre detent at

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48 Chapter 6: Dual Stereo Input Channel

Each dual stereo input channel of the VeniceF has a four-band, fixed EQ (treble and bass shelving EQ and hi and lo mid EQ stages), allowing tonal control over the input signal.

EQ section of the dual stereo input channels

Item Description

1 Treble control knob The treble shelving EQ gain is continuously variable

from -15dB to +15dB, with the shelf frequency set to 12kHz.

2 Hi mid control knob The hi mid gain is continuously variable from -15dB

to +15dB around 3kHz.

3 Lo mid control knob The lo mid gain is continuously variable from -15dB

to +15dB around 300Hz.

4 Bass control knob The bass shelving EQ gain is continuously variable

from -15dB to +15dB, with the shelf frequency set to 75Hz.

5 EQ switch and red LED The EQ switch enables the EQ. With EQ

disabled, adjustment of the EQ controls has no effect. This can be used to compare the sound with and without EQ. The eq LED illuminates to show that EQ is enabled.

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Monitors 49

Monitors

The monitor sends of the dual stereo input channels have similar functionality to those of the mono input channels. For more information, see “Monitors” on page 37.

Note: Stereo left and right channel signals are summed into a mono signal to be routed to the monitor buses by the channel monitor sends.

Auxes

Monitor section of the dual stereo input channels

The aux sends of the dual stereo input channels have similar functionality to those of the mono input channels. For more information, see “Auxes” on page 38.

Note: Stereo left and right channel signals are summed into a mono signal to be routed to the aux buses by the channel aux sends.

Aux sections of the dual stereo input channels

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50 Chapter 6: Dual Stereo Input Channel

Pan, routing, mute and solo

The VeniceF is a flexible mixing console with four group buses plus stereo and mono.

Group and solo sections of the dual stereo input channels

Item Description

1 Group switches Each of these four group switches routes its channel

signal to its associated group bus (see “Group sends” on page 51).

2 stereo switch Routes the channel signals to the stereo master buses

(post-EQ, post-pan, post-mute and post-fader).

3 bal control knob This balance control allows continuous reciprocal

adjustment of the channel’s stereo image. It allows the user to determine the relative output power to each left and right output. At all points this control retains constant power.

4 MUTE switch and red LED The MUTE switch mutes the channel signal.

The signal will still be sent to the FireWire output. The mute LED illuminates to show when the MUTE switch is on.

5 SOLO switch and yellow LED With solo enabled, the channel signal is

6 mono sum switch This switch configures the group sends (see “Group

sends” on page 51) for stereo group operation (out position) or mono group mode (in position). In mono group mode the bal control knob only acts on the stereo master sends.

7 mono switch This switch routes the channel signal to the mono master

bus (post-EQ and post-fader).

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Pan, routing, mute and solo 51

Group sends

Group sends are post-EQ, post-mute and post-fader. The group sends can be configured in either of two modes using the mono sum switch:

• mono sum switch out (stereo) Each pair of groups behave as if they were

stereo groups. The relative odd and even numbered send level is controlled by the bal control knob.

• mono sum switch in (mono) The stereo signals are sent to the group buses as a

mono sum of left and right.

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

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52 Chapter 6: Dual Stereo Input Channel

Fader and meter

The VeniceF fader section has the following functions.

Fader section of the dual stereo input channels

Item Description

1 LED meter These LEDs comprise the dual stereo input channel meter,

which lets you monitor the input signal without having to use the PFL. The meter will display the higher of the two signals (left or right). The red +18 LED will also show any overload activity on the FireWire.

Note: The LED meter is post-insert and post-EQ, but pre-fader and premute.

2 Fader This channel fader allows for continuous adjustment of the channel

level from the stereo, mono and group buses will be at unity, that is, no adjustment in level from the input.

The LEDs represent the following:

• 18 (red): +18dB, overload (peak)

• 12 (yellow): +12dB, high level

• 0 (green): 0dB, normal level

4 (infinity/off) to +10dB. At 0dB, the output of the channel to

• -18 (green): -18dB, shows signal is present

VeniceF

Operator Manual

Chapter 7: Output Section

This chapter deals with the output section of the VeniceF. It describes the control surface and the related connectors on the rear panel.

Output section of the control surface

The output section comprises the following main areas:

• Group (see “Groups” on page 57)

• Matrix (see “Matrices” on page 61)

• Stereo return (see “Stereo returns” on page 63)

• Monitor (see “Monitors” on page 64)

• Aux (see “Auxes” on page 65)

• Mono master (see “Master outputs (mono and stereo)” on page 66)

• Stereo master (see “Master outputs (mono and stereo)” on page 66)

• Talkback (see “Signal generator and talkback” on page 68)

• Playback (to masters) (see “Playback and recording” on page 69)

• Local monitor (see “Local monitor and phones” on page 70)

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54 Chapter 7: Output Section

Rear panel

The main outputs of the VeniceF are located on the rear of the console.

Output connections on rear panel

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VeniceF

Overview of the outputs section 55

Overview of the outputs section

The outputs section comprises the following main areas.

Item Description

1 See “Groups” on page 57. 2 See “FireWire” on page 58. 3 See “Stereo returns” on page 63. 4 See “Matrices” on page 61. 5 See “Monitors” on page 64. 6 See “Auxes” on page 65. 7 See “Groups” on page 57. 8 Faders — the four blue faders adjust

their current assignment (for example, groups), and the red and yellow ones are for the masters.

9 See “Master outputs (mono and

stereo)” on page 66.

10 See “Signal generator and talkback” on

page 68.

11 See “Playback and recording” on

page 69.

12 See “Local monitor and phones” on

page 70.

13 See “Master outputs (mono and

stereo)” on page 66.

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56 Chapter 7: Output Section

Output module notes

Before looking at the function of the output section of the console, it is essential that you are comfortable with a few of the console’s features that affect groups, matrices 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

The VeniceF can be used as a front of house (FOH) console or monitor console. Monitor engineers tend to prefer the output faders on their console to operate the aux outputs (for monitors), whereas FOH engineers would rather use their output faders for groups (either for sub mixes or alternative outputs).

To achieve this flexibility, the VeniceF has an aux c/o (aux/group changeover) switch, so that each output can be individually ‘changed over’ so that the group output path becomes that of the aux output and vice versa.

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

Pressing the aux c/o switch will connect the aux bus to the group insert, group mute, group meter, group solo, group fader, group pan and finally the group output XLR.

The group bus is connected to the aux output pot and to the aux output XLR.

This routing flexibility is available on each of the four group/aux buses.

>> To operate the aux c/o switch

We recommend using a pointed (but not sharp) object, such as a ballpoint pen.

Meter changeover

You can meter the monitor (1 and 2) or matrix (1 and 2) outputs, rather than the group outputs. For example, if using the matrix outputs to drive delay speakers, it may be desirable to monitor those outputs.

Note: If you have used the group aux c/o switch, the group meters will

show the aux outputs.

The monitor and matrix switches send the relevant signal to the meter array.

Note: Meters are post-fader and post-mute.

For more information on VeniceF signal routing, see Appendix A "Functional Block Diagrams" on page 73.

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Groups 57

Groups

Each of the four group buses has an output and an insert.

Group connectors on rear panel

Item Description

1 Group insert sockets Each group has an insert point via a single 1/4”

TRS Jack socket.

2 Group output sockets Each group has an output via a male XLR chassis

connector.

FireWire output is available for the groups by the overriding dual stereo input channels. For more information, see “FireWire” on page 58.

Each group output has fader level adjustment and metering.

Group output sections on the control surface

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58 Chapter 7: Output Section

1 2 3

Item Description

1 Meter LEDs These LEDs comprise the group meter, which monitors the

signal level of the group bus. Range is from -12dBu to +18dBu (3dBu steps from -12dBu to 0dBu, and 6dBu steps from 0dBu to +18dBu).

2 aux c/o switch See “Group-aux changeover” on page 56. 3 mono switch This switch routes the channel signal to the mono bus

(post-EQ, post-mute and post-fader).

4 stereo switch Routes the channel signal to the stereo master bus

(post-EQ, post-pan, post-mute and post-fader).

5 pan control knob The pan control allows the group channel signal to be

positioned in a stereo field when routed to the stereo master bus. 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 (that is, -3dB at the centre).

6 MUTE switch and red LED The MUTE switch mutes the channel signal.

Note that the signal will still be sent to the insert point. The mute LED illuminates to show that the mute is on.

7 SOLO switch and yellow LED Group output solo has the same function

as on the mono input channels (see “Pan, routing, mute and solo” on page 39).

8 Fader The group fader allows for continuous adjustment of the channel

level from

4 (infinity/off) to +10dB.

FireWire

The FireWire section is located on the rear panel of the console.

FireWire section on the rear panel

The output section on the control surface has a firewire output select section that lets you replace the FireWire outputs of the dual stereo input channels, and route output buses to the FireWire interface instead.

Item Description

1 FireWire socket For connecting a FireWire 400, 6-pin connector (to IEEE

1394 standard) to a PC.

2 sample rate LEDs There are two possible sample rate frequencies (in

Hz), which are configured via a PC using the FireWire driver. Either the 48k LED or 44.1k LED will illuminate to show which sample rate is in operation.

3 clock LEDs There are two clock sources, internal or external, which are

configured via a PC using the FireWire driver. Either the int LED or ext LED will illuminate to show the current clock source.

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FireWire 59

A BCD

firewire output select section on the control surface

When an orange FireWire button is switched on (depending on button precedence), it replaces the FireWire output of its respective stereo input channel for its associated buses. The orange LEDs above illuminate to indicate which pair of buses are overriding which stereo channel FireWire output.

The buttons in the firewire output select section override their respective stereo channel FireWire output. (Although the above example uses a VeniceF32, this applies to the equivalent stereo channels on all VeniceF consoles.) A. Stereo input channel 25-26 can be overridden by auxes 1 and 2 or groups 1 and 2. B. Stereo input channel 27-28 can be overridden by auxes 3 and 4 or groups 3 and 4. C. Stereo input channel 29-30 can be overridden by monitors 1 and 2 or matrices 1 and 2. D. Stereo input channel 31-32 can be overridden by master left and right only. E. A bar, indicating that the two adjacent override buttons are interlinked (in the same channel).

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60 Chapter 7: Output Section

Stereo input

channel 25-26

With firewire out selected on the stereo channel (default condition), pressing the button on the left overrides the default. Pressing this button again removes the override, returning to default.

With group 1-2 firewire overriding the stereo channel, pressing the left button has no effect.

With firewire out selected on the stereo channel (default condition), pressing the button on the right overrides the default and also the left button (if pressed).

The hierarchy of the three pairs of FireWire override buttons can be summarised by the following:

• The right button of the pair overrides any FireWire output.

• The left button of the pair only overrides the stereo input channel FireWire output (default).

The buttons are latching, so pressing one when its associated FireWire output is being used will cancel it, reverting to the default condition.

Using the override buttons in the firewire output select section. The example uses stereo channel 25-26 of an F32 console.

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Matrices 61

Matrices

There is an output connector and insert connector on the rear panel for both matrix outputs.

Two matrix inserts and two matrix outputs on the rear panel

FireWire output is available for the matrix outputs by overriding the relevant dual stereo input channel 29-30. For more information, see “FireWire” on page 58.

The VeniceF provides another two outputs from the console, which can be contributions from a combination of the console’s other outputs. The matrix signal can be made from a combination of the group bus 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).

matrix output section on the control surface

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62 Chapter 7: Output Section

Item Description

1 group 1 to group 4 control knobs Each of the groups (1-4) has its own

individual matrix send level, which is continuously variable from off) to +6dB. Unity (0dB) is also marked on the scale, allowing the signal to be routed to the matrix without any attenuation or gain.

Alternatively, the auxiliaries can be routed to the matrix by pressing the aux c/o switch (see “Group-aux changeover” on page 56). 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).

2 mono master control knobs The master mono signal sent to the matrix

is continuously variable from marked on the scale, allowing the signal to be routed to the matrix without any attenuation or gain.

3 stereo master control knobs The single stereo master control knob on

each matrix comprises a ‘summed’ signal of the left and right master channels.

4 split stereo master source left/right switch This switch makes matrix

1 stereo master contribution ‘left’ and matrix 2 stereo master contribution ‘right’, rather than the summed default.

5 matrix 1 and matrix 2 control knobs Adjust the matrix output levels

4 (infinity/off) to +10dB.

from

4 (infinity/off) to +6dB. Unity (0dB) is also

4 (infinity/

6 MUTE switch and red LED The MUTE switch mutes the matrix output.

The mute LED illuminates to show that the mute is on.

7 SOLO switch and yellow LED The SOLO switch routes the matrix signal

to the mono PFL bus and stereo AFL buses. The solo LED illuminates to show when solo is on.

8 matrix 1 and matrix 2 switches Meter changeover switches (from

group).

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Stereo returns 63

Stereo returns

There are two stereo returns that route to masters, certain groups and the two monitor buses.

Stereo returns 1 and 2 on the rear panel. Each return has left and right TRS 1/4” TRS Jack sockets.

The stereo returns section is immediately below the firewire output select section.

stereo returns section

Item Description

1 return 1 and return 2 control knob These control knobs adjust the line

gain from

4 (infinity/off) to +20dB.

2 MUTE switch and red LED These switches mute the stereo returns. The

LEDs illuminate to show that the mute is on.

3 SOLO switch and yellow LED These switches route the stereo return

signal to the mono PFL bus and stereo AFL buses. The LEDs illuminate to show that the solo is on.

4 group 1-2 and group 3-4 switches Routes the stereo return channels

to groups 1 and 2 (return 1) or 3 and 4 (return 2).

5 stereo master switch Routes each stereo return to the stereo master

channel.

6 monitor 1 and monitor 2 control knob Adjusts the contribution to the

monitor 1 and 2 buses (pre-fade or post-fade mono sum) from off) to +6dB.

4 (infinity/

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64 Chapter 7: Output Section

Monitors

There is an output connector and insert connector on the rear panel for both monitor bus outputs.

Two monitor inserts and two monitor outputs on rear panel

FireWire output is available for the monitors by the overriding the relevant dual stereo input channel. For more information, see “FireWire” on page 58.

There are two discrete monitor sections on the control surface, which can be monitored on the first two group meters.

Monitor channels (1 and 2)

Item Description

1 Meter LEDs These LEDs comprise the monitor meter when the monitor

switch (immediately below) is on. This meter monitors the signal level of the monitor bus. Range is from -12dBu to +18dBu (3dBu steps from

-12dBu to 0dBu, and 6dBu steps from 0dBu to +18dBu).

2 Monitor switch This is the meter changeover switch (from group). 3 pre switch This is the bus master pre-fader switch. 4 monitor 1 control knob This output level control gives continuous

4 (infinity/off).

Operator Manual

adjustment of the monitor output signal from +10dB to

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Auxes 65

Item Description

5 MUTE switch and red LED The MUTE switch mutes the monitor send

output signal. The mute LED illuminates to show that the mute is on.

6 SOLO switch and yellow LED The SOLO switch routes the monitor send

signal to the mono PFL bus and stereo AFL buses. When the SOLO switch is on, the master meters are automatically used for solo metering. The solo LED illuminates to show when solo is on.

Auxes

There are four independent aux outputs on the rear panel.

Four aux XLR outputs on the rear panel

FireWire output is available for the auxes by the overriding dual stereo input channels 25-26 and 27-28. For more information, see “FireWire” on page 58.

Each aux output is controlled by a discrete section on the control surface.

Auxes on the control surface

Item Description

1 Control knob Adjusts the aux master level. The output level of the aux is

continuously variable from

4 (infinity/off) to +10dB.

VeniceF Operator Manual

2 MUTE switch and red LED The MUTE switch mutes the aux send signal

at every point after the master send level. The LED illuminates to show when the mute is on.

3 SOLO switch and yellow LED The SOLO switch routes the aux send

signal to the mono PFL bus and stereo AFL buses. The solo LED illuminates to show when solo is on.

66 Chapter 7: Output Section

Item Description

4 pre switch This is the aux global control bus master pre-fader switch,

which determines whether the aux contribution from the input channel is pre-fader or post-fader.

5 aux c/o switch See “Group-aux changeover” on page 56

Pre-fade aux 1-4 sends are sourced after the channel insert, mute and EQ, but before

the channel fader. As a result, the actual level sent to the aux bus is proportional to the aux send control only.

Post-fade aux sends are sourced after the channel insert, mute, EQ and fader. As a result, the actual level sent to the aux bus is proportional to the aux send control and the channel fader.

Table 2: Typical uses of auxiliaries

Application Pre-/Post-fade Reason

Stage monitors Pre-fade (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-fade The level sent to the effects is

Mixed recording (for the artist)

Post-fade (post-EQ) If the aux is set to unity, the FOH

Master outputs (mono and stereo)

There is an output connector and insert connector on the rear panel for each of the mono, left and right master channels.

proportional to the fader level, so the balance between wet (processed) and dry (unprocessed) sound stays the same, even when the channel level is changed.

mix is replicated on the aux output. This includes EQ, but excludes pan.

Master outputs on the rear panel

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Master outputs (mono and stereo) 67

FireWire output is available for the left and right master channels by the overriding the relevant dual stereo input channel. There is no FireWire output for the mono channel. For more information, see “FireWire” on page 58.

The controls shown in this section are directly responsible for the main outputs from the console.

Master outputs sections on the control surface

Item Description

1 MUTE switch and red LED This MUTE switch (in the all stereo line to

masters section) mutes the stereo returns and any stereo line inputs of the

stereo modules that are routed directly to masters, that is, when the channel/masters switch in the dual stereo input channel is set to masters (see “Stereo line inputs” on page 47). The LED illuminates to show that the switch is on.

2 stereo to mono switch When this switch is on, a sum of the stereo left

and right signals are routed to the mono signal bus (post-mute and postinsert points).

3 bal control knob Provides fine adjustment of the left and right power

levels, and can be used during set up to check the left and right channels separately (by panning fully left or right).

4 MUTE switches and red LEDs These MUTE switches mute the stereo/

mono signals pre-fader. Each red LED illuminates when its mute is on.

5 SOLO switches and yellow LEDs The SOLO switches route the stereo/

mono signal to the PFL mono and AFL stereo buses. The LED for each solo switch illuminates when its solo is on. Master solo will be overridden by any other channel/mix solos.

6 Faders These master output faders adjust the output levels, which are

continuously variable from

4 (infinity/off) to +10dB.

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68 Chapter 7: Output Section

Item Description

7 solo LED This yellow LED illuminates to show when the meters in the

master meters section are functioning as solo meters. The solo bus levels

(afl L, afl R and pfl) are shown on the solo meters. The solo meters are premonitor or phones output mute and level, and are unaffected by changes in the headphone level or the level sent to the local monitor outputs.

8 left, right and mono LED These are the stereo (left and right) and

mono meters that monitor the peak signal levels of the master outputs (post-fader).

Signal generator and talkback

The VeniceF provides a 1kHz signal generator and a talkback mic that can be routed to a number of the console’s outputs.

1kHz generator and talk mic sections on the control surface

Item Description

1 talk mic input socket This socket is a conventionally-wired XLR male and

is permanently supplied with 48V phantom power, allowing the connection of a condenser microphone.

2 on switch and green LED When on (button fully in), the talk mic input is

3 group switch This is a routing button that routes the talk bus/signal

4 master switch This is a routing button that routes the talk bus/signal

5 mon 1 and mon 2 switches This is a routing button that routes the talk

enabled and routed to the talk bus, in which case both local monitor outputs are attenuated by 20dB to help prevent feedback. The green LED illuminates to show that the talk mic input is enabled.

generator signal to all group buses.

generator signal to the stereo master buses.

bus/signal generator signal to the monitor 1 or monitor 2 bus.

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Playback and recording 69

Item Description

6 matrix switch This is a routing button that routes the talk bus/signal

generator signal to both matrix buses.

7 aux switch This is a routing button that routes the talk bus/signal

generator signal to all aux buses.

8 gain control knob Adjusts the gain of the talk mic, which is continuously

variable from +10dB to +60dB.

9 on switch Switches the 1kHz signal generator on/off. 10 1kHz generator control knob This control knob adjusts the level of the

output and is continuously variable from

Note: Essentially, with all bus routing buttons switched on (enabled), the talk bus/signal generator signal is routed to all of the console’s buses (except the mono master and local monitor outputs).

4 (infinity/off) to +10dBu.

Playback and recording

The following four connectors on the rear panel provide discrete analogue inputs and outputs for audio playback and recording, respectively.

Playback

Playback/record sockets on the rear panel

The two in (right and left) connectors let you connect an analogue device, such as a tape recorder, to play back recorded audio material via the console.

playback to masters section on the control surface

Item Description

1 playback to masters control knob The level of the input is continuously

variable from

-10dB).

4 (infinity/off) to +10dB (the nominal level is referenced to

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70 Chapter 7: Output Section

Item Description

2 MUTE switch and red LED The MUTE switch mutes the input signal.

The LED illuminates to show when the mute is on.

3 SOLO switch and yellow LED The SOLO switch routes the input signal

to the mono PFL bus and stereo AFL buses. The solo LED illuminates to show when solo is on.

Recording

The two out (right and left) connectors are recording outputs. They are routed via the stereo bus output and operate at a nominal -10dB. These outputs provide a direct output from the console that is post-everything, including mute.

Local monitor and phones

There are two local monitor outputs on the rear panel for providing a signal for monitor speakers.

Local monitor outputs on the rear panel

A local monitor section on the control surface lets you connect headphones for local monitoring and adjust their signal level, and also the signal level of the local monitor outputs.

Local monitor section on the control surface and the position of the addition headphones socket on the front panel of the console

Item Description

1 phones control knob Adjusts the headphones level, which is

continuously variable from

2 MUTE switch and red LED The MUTE switch mutes the headphone

signal. The LED is illuminated when the switch is on.

4 (infinity/off) to +10dB.

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Lamps 71

Item Description

3 Output socket The local monitor section has a 1/4” TRS Jack socket for

headphones. There is an additional socket under the armrest of the console.

4 pfl switch and yellow LED When this solo switch is on (LED illuminated),

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

5 MUTE switch and red LED The MUTE switch mutes the local monitor

outputs. The LED illuminates when the switch is on.

6 local control knob Adjusts the local level, which is continuously variable

4 (infinity/off) to +10dB.

from

Lamps

There are sockets towards the top of the console’s rear panel for connecting 12V desk lamps. They accept 4-pin female XLR connectors. The power rating of 5W is the

maximum rating per output and must not be exceeded.

Position of the lamp sockets on a VeniceF32. The F24 also has two sockets, while the F16 has only one.

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72 Chapter 7: Output Section

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Appendix A: Functional Block Diagrams

This chapter contains the VeniceF signal path diagrams.

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86 Appendix A: Functional Block Diagrams

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Appendix B: Technical Specification

This appendix provides the full technical specification for the VeniceF series of mixing consoles.

Due to a policy of continual improvement, Midas reserves the right to alter the function or specification at any time without notice.

Table 3: VeniceF technical specifications

Item Details F16 F24 F32

Inputs (total)

Mono mic and line inputs (with inserts) Stereo inputs (mic) Stereo inputs (line) Stereo returns Playback

4 4 2

Buses

Groups Monitors Auxes Masters Matrices Solos

Outputs

Groups (with inserts) Monitors (with inserts) Auxes Matrices Masters — left, right and mono (with inserts) Playback Direct outputs (mono input channels) Stereo headphones Local monitors

Size (mm/inch)

Width Depth Height

Weight (kg/lb) Net 23.5/51.8 30.5/67.2 37.5/82.6

Internal power supply

Type Voltage (VAC ±10%) Frequency (Hz) Consumption (W)

XLR (balanced) XLR (balanced) XLR (balanced) XLR (balanced) XLR (balanced)

Phono Balanced 1/4” TRS Jack

Balanced 1/4” TRS Jack 2 XLR (balanced)

4 2 4 3 2 3

4 2 4 2 3

2 8

2 2

575/22.6 649/25.5

77/10

Switching 100 to 240 50 to 60 120W

4 2 4 3 2 3

4 2 4 2 3

2 16

2 2

780/30.7 649/25.5 277/10.9

Switching 100 to 240 50 to 60 150W

4 2 4 3 2 3

4 2 4 2 3

2 24

2 2

985/38.7 649/25.5 277/10.9

Switching 100 to 240 50 to 60 180W

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88 Appendix B: Technical Specification

Item Details F16 F24 F32

Additional features

Connector for desk lamps 4-pin, 12V/5W 1 2 2

Accessories

Dust cover Included Included Included

Table 4: VeniceF performance specifications

Input impedance Mic

Line

Input gain Mic

Line mono channel

Line stereo channel

Line level inputs

Maximum input level Mic

Mic + pad Line mono channel Line mono channel + pad Line stereo channel

CMR at 100Hz Mic (gain +40dB) Typically 75dB CMR at 1kHz Mic (gain +40dB)

Mic + pad (gain +40dB) Line mono channel (0dB) Line stereo channel (0dB) Line mono channel + pad

Frequency response Mic to mix (gain +60dB) 0dB to -1dB Noise (20Hz to 20kHz) Mic EIN at +60dB gain (mono

channel) Mic EIN at +60dB gain (stereo channel) Mic EIN at +40dB gain (mono channel) Mic EIN at +40dB gain (stereo channel) 0dB line to direct output (mono)

Digital input level Sampling frequency

2k balanced 10k balanced

Continuously variable from 10dB to 60dB Continuously variable from 0dB to 50dB Continuously variable from minus infinity to +20dB 0dB

+11dBu +31dBu +21dBu +41dBu +26dBu

>80dB >60dB >50dB >30dB >50dB

-128dBu

-127dBu

-125dBu

-124dBu

-90dBu

48kHz or 44.1kHz

Dynamic range (20Hz to 20kHz)

System noise (20Hz to 20kHz)

Distortion at 1kHz Mic to mix (0dB) 0.03% Crosstalk at 1kHz Channel to channel

Summing noise (16 channel routed with faders down) Line to mix noise (16 channels routed at 0dB, pan centre)

Mix to mix Channel to mix Fader attenuation

105dB

-90dBu

-86dBu

< -90dB < -90dB < -90dB > 90dB

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Output impedance All line outputs

Headphones

Maximum output level Line outputs (into 600R)

Headphones (into 50R)

Digital output level Sampling frequency

Dynamic range (20Hz to 20kHz)

Nominal signal level Mic

Line

Equaliser mono channel Tr eble she l f

Treble frequency Hi mid Hi mid frequency Hi mid bandwidth Lo mid bandwidth Lo mid Lo mid frequency Bass shelf Bass frequency

Equaliser stereo channel Treble s h elf

Hi mid bell

Lo mid bell

Bass shelf

50 ohms balanced source To drive 32 ohms

+21dBu +18dBu (750mW)

48kHz or 44.1kHz

105dB

-60dBu to +10dBu 0dBu

15dB boost/cut 2kHz to 20kHz 15dB boost/cut 400Hz to 8kHz

0.1 to 2.0 Oct

0.1 to 2.0 Oct 15dB boost/cut 100Hz to 2kHz 15dB boost/cut 20Hz to 200Hz

15dB boost/cut control at 12kHz 15dB boost/cut control at 3kHz (1.4 Oct) 15dB boost/cut control at 300Hz (1.4 Oct) 15dB boost/cut control at 75Hz

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90 Appendix B: Technical Specification

669 (26.3”)

R50 (2.0”)

R15 (0.6”)

278 (11.0”)

286 (11.3”)

286

(11.3”)

182

(7.2”)

VeniceF16 = 600 (23.6”)

VeniceF24 = 805 (31.7”)

VeniceF32 = 1010 (39.8”)

6.5°

(approx.)

Dimensions

The following shows the external dimensions of the VeniceF series consoles. Dimensions are in millimetres, with the equivalent in inches enclosed in brackets.

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Appendix C: Application Notes

This appendix provides application notes as a guide to help you with VeniceF console operation. With its flexible routing and functionality, the VeniceF was designed with real-world sound engineers in mind, working in the real world. So, for engineers that haven’t got a great deal of experience in live sound engineering, the following subsections may provide a few helpful guidelines.

Gain

The VeniceF has two types of input channel — mono and dual stereo — both of which also have microphone inputs. Gain is provided on these channels to allow the operator to obtain the optimal signal for the system:

• Microphone gain — range is +10dB to +60dB (-10dB to +40dB with pad switch

enabled).

• Mono channel line gain — range is 0dB to +50dB (-20dB to 30dB with pad switch

enabled).

• Stereo channel line gain — range is -

Each channel of the VeniceF includes an LED meter, which indicates the channel level (measured after the channel insert and EQ but before the channel fader). With the insert and EQ disabled, the meter shows the level at the input in the following 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 VeniceF channel strip is +21dBu (0dBu =

0.775 volts RMS) then imagine the following situation:

4 (minus infinity) to +20dB.

Headroom is the amount of spare ‘swing’ available to the system. If 9dB headroom was desired at all times, a maximum level of +12dB 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 console’s buses (that is, the left and right main buses) are the point where all channel signals are summed together. In normal operation, it is unlikely that all

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92 Appendix C: Application Notes

channels will receive the same signal at the same time so, typically, when 16 channels are summed together a gain of around 5dB to 8dB 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).

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

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 from a vocalist, 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, there are still sources of potential problems. The VeniceF 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, 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. However,

please note that 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!

Operator Manual

VeniceF

Midas consoles F32, F16 Operator Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

IMPORTANT SAFETY INSTRUCTIONS

INSTRUCTIONS DE SÉCURITÉ IMPORTANTES

Contents

Chapter 1: Introduction

Overview of the VeniceF

Key features

Control surface

Rear panel

External connections

Signal flow

Mix matrix

About this manual

Service and support

Chapter 2: Getting Started

Installation

Handling the equipment

Radio frequency interference

Electric fields

Connecting up

Audio connections

Connecting to balanced/unbalanced equipment

Other connections

Setting up

Switching the VeniceF on/off

Chapter 3: Using The VeniceF With FireWire

Installing FireWire on a PC

Step A — Installing the device driver on your PC

Step B — Connecting the VeniceF to your PC

Step C — Configuring the FireWire settings for the VeniceF

Installing FireWire on a Mac

Step A — Installing the device driver on your Mac

Step B — Connecting the VeniceF to your Mac

Step C — Configuring the FireWire settings for the VeniceF

Updating the FireWire driver

Troubleshooting FireWire

Audio problems

No devices found

Overcoming ground loop problems

Chapter 4: Working With The Console

Ground loop problems

Chapter 5: Mono Input Channel

Overview of the mono input channel

Rear panel

Gain

FireWire

Insert

Monitors

Auxes

Pan, routing, mute and solo

Fader and meter

Chapter 6: Dual Stereo Input Channel

Overview of the dual stereo input channel

Rear panel

Gain (stereo mic inputs)

FireWire

Stereo line inputs

Monitors

Auxes

Pan, routing, mute and solo

Group sends

Fader and meter

Chapter 7: Output Section

Rear panel

Overview of the outputs section

Output module notes

Group-aux changeover

Meter changeover

Groups

FireWire

Matrices

Stereo returns

Monitors

Auxes

Master outputs (mono and stereo)

Signal generator and talkback

Playback and recording