Midas Consoles HERITAGE 2000 User Manual
OPERATORS MANUAL
Midas
Klark Teknik Building,
Walter Nash Road,
Kidderminster.
Worcestershire.
DY11 7HJ.
England.
Tel:+44 1562 741515
Fax:+44 1562 745371
Email: midas.info@uk.telex.com
Website: midasconsoles.com
MIDAS Heritage 2000
Operators Manual
Issue 1.4 - July 2002
Due to a policy of continual product improvement, specification
and features
may be subject to change without notice.
DOC02-H2000
IMPORTANT SAFETY INSTRUCTIONS
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
These symbols are internationally accepted symbols that warn of potential hazards with
electrical products.
The lightning flash with arrowhead symbol, within an equilateral
triangle is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product's enclosure that may be of
sufficient magnitude to constitute arisk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert
the user to the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with the manufacturers
instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third grounding
prong. The wide blade or the third prong are provided for your safety. If the provided plug does not
fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience
receptacles, and the point where they exit from the apparatus.
11. Only use attachments / accessories specified by the manufacturer.
12. 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 is damaged in
any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate
normally, or has been dropped.
IEC-60065-Edn7-Midas
Walter Nash Road, Kidderminster, Worcestershire. DY11 7HJ. England
Tel: +44 1562 741515. Fax: +44 1562 745371
Company Registration No: 2414018
abc abc
SIGNAL PROCESSING BY DEFINITION DESIGNEDFOR APUREPERFORMANCE
DECLARATION OF CONFORMITY
We,
Klark Teknik Group (UK) Plc
of, Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ
Declare that a sample of the following product:-
Product Type Number Product Description Nominal Voltage (s) Current Freq
Heritage 2000 Audio Mixing Desk
and dual redundant PSUs
115V AC 10A 50/60Hz
230V AC 5A
to which this declaration refers, is in conformity with the following directives and/or standards:-
Directive(s) Test Standard(s)
EN 55013: 1990
EN 50082: 1992
Generic Standard using EN55022 Limits and Methods
Class B Conduct Emissions
Class B Radiated Emissions
Fast Transient Burst Level 4
Static Discharge Level 4
Earth Continuity, Insulation at 500V
EN50081/1 and /2
EN55022
EN55022
EN61000-4-4
EN61000-4-2
EN60204
Signed:............................
Date: 1st April, 1999
Name: Alex Cooper
Authority:Project Leader
Attention!
Where applicable, the attention of the specifier, purchaser, installer or user is drawn to special limitations of use
which must be observed when these products are taken into service to maintain compliance with the above
directives. Details of these special measures and limitations to use are available on request and are available
in product manuals.
A Subsidiary of Telex communications, Inc.
ATTENTION!
The following special limitations apply to the console and must be observed in order to maintain safety and
electromagnetic compatibility performance:
POWER CONNECTION
The console should only be operated with the power supply connected to ground via its mains supply connector.
CONTROL CONNECTIONS
The console should only be operated with high quality screened control cables. All connector shells should be
of metal construction so that they provide a screen when they are plugged into the console. All DEE connector
shells should be connected to the cable screen. All XLR and DIN connectors should have pin 1 connected to
the cable screen.
AUDIO CONNECTIONS
The console should only be operated with high quality screened twisted pair audio cables. All connector shells
should be of metal construction so that they provide a screen when they are plugged into the console. All JACK
connector shells should be connected to the cable screen. All XLR connectors should have pin 1 connected to
the cable screen.
ELECTRIC FIELDS
If the console is operated in an electromagnetic field that is amplitude modulated by an audio frequency signal,
the signal to noise ratio may be degraded. Degradation of up to 60dB may be experienced under extreme
conditions (3V/m, 90% modulation).
INSTALLATION
There are a number of points to consider when installing a mixing console. Many of these points will have
been addressed before the console is even unpacked but it is worth repeating them.
POSITION
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 not in close proximity to power distribution equipment or other potential
sources of interference. Provision should be made for some flat surface surrounding the console to prevent
people using it as a table top.
POWER
The power supply should be located as far from the console as the connecting cable will allow. It should be
set for the appropriate line voltage and plugged into the mains outlet using the supplied cable.
THE POWER SUPPLY SHOULD NEVER BE OPERATED
WITH THE MAINS EARTH DISCONNECTED
Please note that the power supply contains LETHAL VOLTAGES greatly in excess of the mains voltage and
that its rails can produce extremely large currents which could burn out equipment and wiring if shorted. All
testing and servicing should ONLYbe carried out by qualified engineers.
CONNECTORS
Input / Output XLR
Pin 1: Ground
Pin 2: Hot
Pin 3: Cold
RS-232
RS-232
Pin 2: Receive Data
Pin 3: Transmit Data
Pin 5: GND
THRU
MIDI
OUT
MIDI In
Pin 2: Ground
Pin 4: In+
Pin 5: In-
MIDI Thru
Pin 2: Ground
Pin 4: In+
Pin 5: In-
IN
MIDI Out
Pin 2: Ground
Pin 4: In+
Pin 5: In-
Midas Can Bus
Pin 1: +18V (100mA max)
Pin 2: Can low
Pin 3: OV Can
Pin 4: Can High
Pin 5: -18V(100mA max)
Input Send / Return
Tip: Hot
Ring: Cold
Sleeve: Ground
Contents
Midas HS0002 Mono Input Module
Midas HS0003 Input Fader
Midas HS0005 Stereo Input Module
Midas HS0003 Input Fader
Midas HS0012 Group Module
Midas HS0013 VCA Master Fader
Midas HS0051 Aux Module
Midas HS0021 Master Module
Midas HS0031 Monitor Module
Midas HS0041 Matrix Module
Midas Automation
Heritage Menu Overview Ver 2.04
Midas Can Bus
Heritage Back Panel
Frame Dimensions
Block Diagrams
Input Module
Group Module
Matrix Module
Aux Module
Master Module
Monitor Module
Heritage Overview and Statistics
Heritage Technical Specifications
Mono Input Crib Sheet
Page 1
Page 6
Page 8
Page 13
Page 15
Page 19
Page 21
Page 24
Page 28
Page 32
Page 35
Page 43
Page 51
Page 53
Page 55
Page 57
Page 58
Page 59
Page 60
Page 61
Page 62
Page 63
Page 65
48V
+25 +35
PAD
+15
O
gain
PRE
direct o/p
5k
1k
20k
freq
15
bell
treble
2k
+/-
400
8k
freq
INS
15
hi-mid
PRE
EQ
500
15
lo-mid
100
2k
+/-
freq
bell
100
15
bass
20
400
freq
60 160
freq
20
ON
pre
pre
ON
pre
pre
ON
pre
pre
ON
pre
ON
pre
pre
ON
pre
pre
ON
pre
pre
ON
pre
pre
9-10
ON
pre
MONO
aux
11-12
ON
pre
MONO
aux
l
1
3
5
7
9
11
group
routing
C
lr
pan
SIS
MONO
lcr
stereo
image
mute
MIDAS HS0002
l
PAN
0
0
0
0
aux 1
aux 2
aux 3
aux 4
aux 5
aux 6
aux 7
aux 8
level
pan
level
pan
4
6
8
10
12
ST
+60
0
+10
MIDAS HS0002
Mono Input
15
Q
15
15
Q
15
400
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
C
0
r
0
+6
C
0
r
2
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-25
Module
1
The 48V switch connects 48 volt phantom
power to the input connector which is
suitable for a condenser microphone
or DI box.
The PAD switch gives 25dB of
attenuation to the input signal which will
allow the connection of high output
microphones or line level signals. If the
input amplifier is transformer coupled
(option) the pad greatly reduces the risk
of saturation at very low frequencies.
The PHASE switch activates a 180
degrees phase change within the input
amplifier.
The PRE switch re configures the direct
output to derive signal from the input
channel pre insert and equaliser. It is
important to note that pre insert direct
outputs are also pre mute.
The treble FREQ control gives
continuous adjustment of the frequency
range that the treble equaliser acts on
from 1k to 20k.
The treble BELL switch converts the
treble equaliser from traditional MIDAS
shelving response to full parametric
operation.
The hi mid FREQ control gives
continuous adjustment of the frequency
range that the hi mid equaliser acts on
from 400Hz to 8k.
The INS switch connects the input insert
return signal to the input channel signal
path.
The EQ switch connects the equaliser
into the input channel signal path.
400
48V
PAD
O
PRE
1k
freq
freq
INS
PRE
EQ
+25 +35
+15
5k
bell
2k
direct o/p
20k
15
treble
+/-
8k
15
hi-mid
gain
0
0
+60
0
+10
15
Q
15
The GAIN control gives continuous
adjustment of the input amplifier
gain from + 15dB to + 60dB.
The DIRECT output control gives
continuous adjustment of the direct output
level from + 10dB to off. The output is
derived from the input channel post
equaliser pre fader signal.
The TREBLE (dual concentric top)
control gives continuous adjustment of
boost and cut from + 15dB to - 15dB with
a 0dB centre detent.
The treble WIDTH (dual concentric
bottom) control gives continuous
adjustment of bandwidth from 0.1 to 2
octaves with a 0.5 octave centre detent.
This only operates when the BELL switch
is activated.
The HI MID (dual concentric top) control
gives continuous adjustment of boost and
cut from + 15dB to - 15dB with a 0dB
centre detent.
The hi mid WIDTH (dual concentric
bottom) control gives continuous
adjustment of bandwidth from 0.1 to 2
octaves with a 0.5 octave centre detent.
The insert PRE switch arranges the input
channel signal to pass through the insert
point before the equaliser when activated
and after the insert point when not
activated.
2
The lo mid FREQ control gives
continuous adjustment of the frequency
range that the lo mid equaliser acts on
from 100Hz to 2k.
The bass BELL switch converts the bass
equaliser from traditional MIDAS
shelving response to full parametric
operation.
The bass FREQ control gives continuous
adjustment of the frequency range that
the bass equaliser acts on from 20Hz
to 400Hz.
The HI PASS switch connects the filter
in the input channel signal path before
the insert point and equaliser.
100
20
500
freq
bell
100
freq
15
lo-mid
2k
+/-
15
400
60 160
20
0
0
bass
freq
15
Q
15
400
The LO MID (dual concentric top)
control gives continuous adjustment of
boost and cut from + 15dB to - 15dB
with a 0dB centre detent.
The lo mid WIDTH (dual concentric
bottom) control gives continuous
adjustment of bandwidth from 0.1 to 2
octaves with a 0.5 octave centre detent.
The BASS (dual concentric top) control
gives continuous adjustment of boost and
cut from + 15dB to - 15dB with a 0dB
centre detent.
The bass WIDTH (dual concentric
bottom) control gives continuous
adjustment of bandwidth from 0.1 to 2
octaves with a 0.5 octave centre detent.
This only operates when the BELL switch
is activated.
The HI PASS filter control is
continuously adjustable from 20Hz to
400Hz.
3
The mono aux ON switches connect
signals from the input channel to the
mono aux busses.
The mono aux PRE switches change
the signal sent to the mono aux busses
from post fader to pre fader.
The stereo aux ON switches connect
signals from the input channel to the
stereo aux busses.
The stereo aux PRE switches change
the signal sent to the stereo aux busses
from post fader to pre fader.
The MONO switches change either of
the stereo aux busses into two
independent mono aux busses with the
pan controls becoming the second
level control ( bus 10 or 12).
ON
pre
ON
pre
ON
pre
ON
pre
ON
pre
ON
pre
ON
pre
ON
pre
9-10
ON
pre
MONO
aux
11-12
ON
pre
MONO
aux
1
aux 1
aux 2
aux 3
aux 4
aux 5
aux 6
aux 7
aux 8
level
C
l
pan
level
C
l
pan
2
The mono AUX controls (1 to 8) give
0
continuous adjustment of the level sent
from the input channel to the aux
+6
busses. The level adjustment is from
0
+ 6dB to off.
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
The stereo aux LEVEL controls
+6
(9 and 11) give continuous adjustment
of the level sent from the input
0
channel to the stereo aux busses. The
level adjustment is from + 6dB to off.
r
0
+6
0
The stereo aux PAN controls are used
to place the channel within a stereo
r
aux mix and have a constant power
law, i.e. - 3dB at the centre position.
3
5
4
6
The GROUP ROUTING switches
(1 to 12) assign the post fader channel
signals to the group busses.
7
9
11
group
routing
4
8
10
12
PAN
The PAN switch effects all group
routing by moving the channel source
from post fader to post the fader and
pan control.
The PAN defaults to control the channel
placement within a group or master
stereo mix and has a constant power law
i.e. - 3dB at the centre position.
The ST switch connects the post fader
channel signal to the master stereo bus
via the pan control.
The SIS switch enables the spacial
imaging system which operates in
conjunction with the pan and image
controls. It also acts as a left, centre, right
master bus enable overriding any stereo
and mono master bus assignments.
When the spacial imaging system is
active the IMAGE control can modify
the action of the pan control so as to
place the channel within a three speaker
system. When the image control is fully
clockwise the pan control will operate
in full left, centre, right such that a centre
panned signal will route to the centre
speaker only and will not appear in
either of the left or right outputs. When
the image control is fully anti-clockwise
the pan control reverts to stereo such that
a centre panned signal will route at equal
power to the left and right speakers. All
other Image control positions generate a
composite blend of the stereo and LCR
panning systems so that the optimum
degree of center image focus and
speaker power can be obtained. When
the image control and pan control are
both set central the channel will be
routed with equal power to all three
speakers. Constant power is maintained
at all times so that the image can be
adjusted during the show without any
perceived level change.
C
ST
lr
pan
SIS
stereo
image
lcr
MONO
+18
+15
+12
+9
+6
+3
-25
mute
MIDAS HS0002
-3
-6
-9
The MONO switch connects the post
fader channel signal to the mono
master bus.
0
The METER monitors the peak signal
level of the pre fader input channel.
The MUTE switch mutes the input
channel at all points after the insert send.
The switch can be controlled from
snapshot automation and by automute
scenes.
5
MIDAS HS0003
Input Fader
safe’s
MUTE
FDR
solo
AUTO AUTO AUTO AUTO AUTO AUTO AUTO AUTO
SET SET SET SET SET SET SET SET
10
1
5
2
0
3
5
4
10
5
6
20
7
30
8
40
9
50
10
dB
safe’s
MUTE
FDR
1
2
3
4
5
6
7
8
9
10
10
10
20
30
40
50
dB
safe’s
MUTE
FDR
solo
5
0
5
solo
10
1
5
2
0
3
5
4
10
5
6
20
7
30
8
40
9
50
10
dB
safe’s
MUTE
FDR
1
2
3
4
5
6
7
8
9
10
10
10
20
30
40
50
dB
safe’s
MUTE
FDR
solo
5
0
5
solo
10
1
5
2
0
3
5
4
10
5
6
20
7
30
8
40
9
50
10
dB
safe’s
MUTE
FDR
1
2
3
4
5
6
7
8
9
10
10
10
20
30
40
50
dB
solo
safe’s
MUTE
FDR
solo
safe’s
MUTE
FDR
10
5
0
5
1
5
2
0
3
5
4
10
5
6
20
7
30
8
40
9
50
10
dB
1
2
3
4
5
6
7
8
9
10
solo
10
5
0
5
10
20
30
40
50
dB
HS0003
MIDASMIDAS
6
The SAFE switches disable remote
control of the channels as follows:-
i. The MUTE SAFE removes the channel
mute from the snapshot automation and
automute scenes.
ii. The FADER SAFE removes the
channel fader from the virtual fader
automation and VCA master fader
control including vca mutes.
iii. The AUTO SAFE removes the
channel from the snapshot automation
system only; leaving the automutes,
VCA masters and assignment systems
active.
The SET switch is used to programme
the channel automute and VCA master
assignment. The central controller
MODE and ASSIGN keys select the
desired automute or VCA group and the
SET switch will toggle the channel on
and off with each alternate press.
safe’s
MUTE
FDR
AUTO
SET
10
1
2
3
4
0
5
5
solo
The SOLO switch sends the input channel
signal to the PFL mono and AFL stereo
busses. If the switch is pressed for a short
time it will latch on or off, but if it is held
on for more than 1 second the latching is
disabled and when the switch is released
the channel solo will turn off. As a default
the solo system is auto cancelling so each
new solo cancels the last. This function is
time dependant which allows several solos
to be active as long as they are switched
on at approximately the same time. The
SOLO ADD MODE switch on the
MONITOR module defeats the auto
cancelling and allows multiple channel
monitoring. In this mode input solos have
priority over outputs and will temporarily
override any active output solos. The
input solos also override any active VCA
solos.
The FADER gives continuous adjustment
of the input channel level from
+ 10dB to off.
The STATUS leds are used to show
fader positions and the status of VCA
and MUTE group assignments. The
central controller MODE switches toggle
through the four available states:- VCA
group assignment, MUTE group
assignment, FADER position manual
recall and null, and full automated
VIRTUAL FADER RECALL.
FADER MANUAL RECALL AND NULL
In this mode, the STATUS LEDs are used
to prompt the operator where to move the
fader. If the fader is not at the position
stored in the current recalled snap shot,
one/two LEDs will flash to indicate
where the fader should be. A single
flashing LED indicates that the fader
should positioned next to that LED, if
two LEDs are flashing the fader should
be between the two LEDs. As the fader is
moved closer to the required position the
LED(s) will stop flashing and will be
replaced by a single continuously lite
LED. Once the fader is at the correct
position all LEDs will extinguish.
5
6
7
8
9
10
10
20
30
40
50
dB
HS0003
FADER POSITION CHECK
When a scene's contents are being
"checked" (see automation operation) the
STATUS LEDs will indicate the fader
position stored in the scene by
continuously illuminating one or two
LEDs as appropriate.
VIRTUAL FADER RECALL
When in VIRTUAL FADER mode (see
automation operation) the automation
system will generate a "virtual" fader, set
to the level of the input fader at the time
the snap shot was stored. The level of the
virtual fader is added to the level of the
physical input fader. In this mode the
STATUS LEDs indicate the "position" of
the virtual fader by illuminating a bar of
LEDs starting at - .¥
7
48V
+25 +35
PAD
+60
+15
O
gain
c
O
l
r
balance
5k
0
1k
20k
freq
15
15
bell
treble
2k
+/-
Q
0
400
8k
freq
INS
15
15
hi-mid
PRE
0
0
EQ
EQ
500
15
15
lo-mid
100
2k
+/-
Q
freq
0
bell
100
15
15
bass
20
400
freq
60 160
freq
20
400
0
ON
pre
pre
+6
aux 1
0
ON
pre
pre
+6
aux 2
0
ON
pre
pre
+6
aux 3
0
ON
pre
+6
aux 4
0
ON
pre
pre
+6
aux 5
0
ON
pre
pre
+6
aux 6
0
ON
pre
pre
+6
aux 7
0
ON
pre
pre
+6
aux 8
pre
MONO
aux
pre
MONO
aux
llr
ST
mute
0
ON
+6
level
C
0
r
l
pan
0
ON
+6
level
C
0
r
l
pan
1
2
4
3
6
5
8
7
10
9
12
11
PAN
C
r
MONO
18
15
12
9
6
3
0
3
6
9
25
9-10
11-12
group
routing
8
MIDAS HS0005
MIDAS HS0005
Stereo Input
Module
The 48V switch connects 48 volt phantom
power to both input connectors and is
suitable for condenser microphones or
DI boxes.
The PAD switch gives 25dB of
attenuation in both input signals to allow
the connection of high output
microphones or line level signals. If the
input amplifiers are transformer coupled
(option) the pad greatly reduces the risk
of saturation at very low frequencies.
48V
PAD
+25
+35
The GAIN control gives continuous
adjustment of the input amplifier gains
from + 15dB to + 60dB.
The PHASE switches activate a 180
degree phase change within the input
amplifiers. The upper switch acts on the
left channel and the lower switch acts on
right channel.
The treble FREQ control gives continuous
adjustment of the frequency range that the
treble equalisers act on from 1k to 20k.
The treble BELL switch converts the
treble equalisers from traditional MIDAS
shelving response to bell filters with a
1.5 octave bandwidth.
The hi mid FREQ control gives
continuous adjustment of the frequency
range that the hi mid equalisers act on
from 400Hz to 8k.
The INS switch connects the left and
right input insert return signals to the
input channel.
The insert PRE switch arranges the input
channel signals to pass through the insert
points before the equalisers when
activated and after the insert points when
not activated.
400
1k
freq
O
O
5k
freq
bell
2k
INS
PRE
EQ
+15
20k
15
8k
15
+60
gain
c
balance
0
15
treble
hi ‘Q’
0
15
hi-mid
The BALANCE control gives continuous
and reciprocal adjustment of the stereo
left and right signal levels by +10dB to
-10dB. This allows fine adjustment of the
left and right signal levels and imaging.
The TREBLE control gives continuous
adjustment of left and right boost and cut
from +15dB to -15dB with a 0dB centre
detent.
The hi mid HI Q control changes the
bandwidth of the hi mid equalisers from
1.5 octave to 0.5 octave.
The HI MID control gives continuous
adjustment of left and right boost and cut
from +15dB to -15dB with a 0dB centre
detent.
The EQ switch connects the left and
right equalisers into the input channel
signal paths.
9
The lo mid FREQ control gives
continuous adjustment of the frequency
range that the lo mid equalisers act on
from 100Hz to 2k.
100
500
freq
2k
0
15
lo-mid
15
hi ‘Q’
The LO MID control gives continuous
adjustment of left and right boost and cut
from +15dB to -15dB with a 0dB centre
detent.
The lo mid HI Q control changes the
bandwidth of the lo mid equalisers from
1.5 octave to 0.5 octave.
The bass BELL switch converts the bass
equalisers from traditional MIDAS
shelving response to bell filters with a
1.5 octave bandwidth.
The bass FREQ control gives continuous
adjustment of the frequency range that
the bass equalisers act on from 20Hz
to 400Hz.
The HI PASS switch connects the filters
in the input channel signal path before
the insert points.
20
bell
100
freq
15
bass
400
60 160
20
freq
0
The BASS control gives continuous
adjustment of the left and right shelving
filters boost and cut from +15dB to -15dB
with a 0dB centre detent.
15
The HI PASS filter control is continuously
adjustable from 20Hz to 400Hz.
400
10
The mono aux ON switches connect
signals from the input channel to the mono
aux busses.
The mono aux PRE switches change the
signal sent to the mono aux busses from
post fader to pre fader.
The stereo aux ON switches connect signals
from the input channel to the stereo aux
busses.
The stereo aux PRE switches change the
signal sent to the stereo aux busses from
post fader to pre fader.
The MONO switches change either of the
stereo aux busses into two independent
mono aux busses with the level controls
feeding a mono sum of the left and right
input signals.
ON
pre
ON
pre
ON
pre
ON
pre
ON
pre
ON
pre
ON
pre
ON
pre
9-10
ON
pre
MONO
aux
11-12
ON
pre
MONO
aux
1
3
5
aux 1
aux 2
aux 3
aux 4
aux 5
aux 6
aux 7
aux 8
l-level
r-level
l-level
r-level
2
4
6
The mono AUX controls (1 to 8) give
0
continuous adjustment of the level sent from
the input channel to the aux busses. The
+6
signal is a mono sum of the left and right
signals and the level adjustment is from
0
+ 6dB to off.
+6
0
+6
0
+6
0
+6
0
+6
0
+6
0
+6
The stereo aux LEVEL controls
(9 to 12) give continuous adjustment
0
of the level sent from the input channel
to the stereo aux busses. The first
+6
control routes left channel signal to the
0
left aux bus and the second control
routes right channel signal to the right
aux bus. The level adjustment is from
+6
+ 6dB to off.
0
+6
+6
0
+6
The GROUP ROUTING switches
(1 to 12) assign the post fader channel
signals to the group busses in stereo
(odd numbers are left and even
numbers are right).
7
9
11
group
routing
8
10
12
PAN
The PAN switch moves the channel
source for the group routing to be post
the two pan controls.
11
The left and right PAN controls are used
to place the input channel signals within
a stereo group or stereo master mix. As
well as image placement, the controls
can also adjust the image width from
stereo through mono to reverse stereo
(left and right crossed over). The controls
have a constant power law i.e. -3dB at
the centre position.
The ST switch connects the post fader
channel signals to the stereo master bus
via the pan controls.
The MUTE switch mutes the input
channel at all points after the insert send.
The switch can be controlled from
snapshot automation and by automute
scenes.
C
l
ST
mute
r
l
r
MONO
18
15
12
9
6
3
0
3
6
9
25
The MONO switch connects the post
fader channel signals to the mono master
bus.
The METERS monitor the pre fader peak
signal levels of input channel.
12
MIDAS HS0005
MIDAS HS0003
Input Fader
safe’s
MUTE
FDR
solo
AUTO AUTO AUTO AUTO AUTO AUTO AUTO AUTO
SET SET SET SET SET SET SET SET
10
1
5
2
0
3
5
4
10
5
6
20
7
30
8
40
9
50
10
dB
safe’s
MUTE
FDR
1
2
3
4
5
6
7
8
9
10
10
30
10
20
40
50
dB
safe’s
MUTE
FDR
solo
10
5
0
5
1
5
2
0
3
5
4
10
5
6
20
7
30
8
40
9
50
10
dB
solo
safe’s
MUTE
FDR
1
2
3
4
5
6
7
8
9
10
10
10
20
30
40
50
dB
safe’s
MUTE
FDR
solo
10
5
0
5
1
5
2
0
3
5
4
10
5
6
20
7
30
8
40
9
50
10
dB
solo
safe’s
MUTE
FDR
1
2
3
4
5
6
7
8
9
10
10
10
20
30
40
50
dB
solo
safe’s
MUTE
FDR
solo
safe’s
MUTE
FDR
10
5
0
5
1
5
2
0
3
5
4
10
5
6
20
7
30
8
40
9
50
10
dB
1
2
3
4
5
6
7
8
9
10
solo
10
5
0
5
10
20
30
40
50
dB
HS0003
MIDASMIDAS
13
Loading...