Midas Consoles MIDAS VERONA User Manual

OPERATORS MANUAL

Klark Teknik Group,

Klark Teknik Building,

Walter Nash Road,

Kidderminster.

Worcestershire.

DY11 7HJ.

England.

Tel:[phone]

Fax:[phone]

Email: [e-mail]

Website: www.midasconsoles.com

IMPORTANT SAFETY INSTRUCTIONS

CAUTION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

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

DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE

AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR

These symbols are internationally accepted symbols that warn of potential hazards with
electrical products.

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

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

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

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

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

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third grounding
prong. The wide blade or the third prong are provided for your safety. If the provided plug does not
fit into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience
receptacles, and the point where they exit from the apparatus.

11. Only use attachments / accessories specified by the manufacturer.

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

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

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

Tel: [phone]. Fax: [phone]

Company Registration No: 2414018

abc abc

SIGNAL PROCESSING BY DEFINITION 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

Verona Professional Audio 115V AC 2.2A 50/60Hz

Mixing Desk 230V AC 1.1A

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

Directive(s) Test Standard(s)

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

EN60065:2002
UL60065-03

Pending

CAN/CSA60065-03
IEC60065-2001

Pending

Pending

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

Name: Simon Harrison

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

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

A Subsidiary of Telex Communications, Inc.

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

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

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

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

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

Finally,

Enjoy your new Midas Verona Console!

Contents

ATTENTION: Installation and power 6

Mono Input Channels 7

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

Multifunction Input Channels 13

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

Output Module 19

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

Setting up the Verona 27

Functional Block Diagrams 33

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

Dimensions and Weights 39

Rear Panel Description 41

Specification and Features 43

Crib Sheet 47

Operators Manual - Page 5

ATTENTION

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

Power Connection

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

Audio Connections

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

INSTALLATION

Position

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

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

Power

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

Electric Fields

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

THE POWER SUPPLY SHOULD NEVER BE OPERATED WITH

THE MAINS EARTH DISCONNECTED

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

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

!

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

ONLY be carried out by a qualified engineer.

Connections

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

Female XLR

1

2

Pin 1 - Screen/Ground

3

Pin 2 - Hot Signal
Pin 3 - Cold Signal

Male XLR

2

3

1

Note: Sockets are viewed from the front face.

Quarter Inch Jack

TRS Signal TRS Insert TRS Headphone

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

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

RCA (Tape In/Out)

Centre - Signal
Surround - Screen

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

For increased protection against
interference use metal bodied RCA plugs.

Operators Manual - Page 6

Mono Input Channel

Operators Manual - Page 7

Mono Input ChannelsMono Input Channels

48v -15

padpower

+30 +45

mic gain

O

mic

60

hi-pass

20

-15 +15
5k 10k

treble

2k

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq

off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

1-2

3-4

5-6

7-8

mono

stereo

c

lr

pan

groups master
pan si s

MUTE

SOLO

10

18

12

5

-18

0

5

mute 1

10

15

mute 2

20

mute 3

30

40

mute 4

Rear Panel

insert

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

one insert point on a single TRS jack socket.
one direct output on a single impedance balanced quarter-inch jack socket

+60+15

ins

160

400

51

direct

out

line L

line in left

(stereo only)

line in right

20k

line

in

one line in quarter-inch TRS balanced jack socket
one mic XLR female

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

- Channel Signal Send

Tip

- Channel Signal Return

Ring
Sleeve

- Signal Common Ground

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

Balanced XLR and Jack inputs are conventionally wired:

mic

PUSH

2k

200

+15

Front Panel

eq
on

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

0

remains the same

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

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

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

Mic Ø - The mic phase switch, when
depressed, causes a 180 degree phase
change (with respect to the input signal) to
occur in the input amplifier such that the
channel signal will have opposite polarity to

- 1. Screen - 2. Hot Signal - 3. Cold Signal

XLR

- T. Hot Signal - R. Cold Signal - S. Screen

TRS

: Direct outputs as standard are set post EQ pre mute, however there is an

Note

internal jumper which will set them pre EQ and pre insert

(refer to the service manual

or contact your authorised Midas service agent).

-15dB Pad - The Pad switch provides 15dB
attenuation to the input signal allowing for
the connection of high output microphones
and line level signals without overloading
the channel input amplifier. Overloads are
indicated on the in-channel meter by the
red LED at the top.

48v -15

padpower

+30 +45

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

mic gain

+60+15

that peaks in level on the input should not

mic

O

ins

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

the input signal.

Ins - The ins switch enables the channel

The mic phase switch is commonly needed
where two microphones are used facing
each other (for example when using a
microphone on both the top and bottom of a

insert point by connecting the insert return
to the channel signal path so that
compressors, gates or other dynamic and

signal processors or effects can be used.
snare drum). Ordinarily the two
microphones would be out of phase causing

0

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

60

160

Hi-Pass - The high pass switch enables
high pass filter on the microphone input.
This is commonly used to remove handling

hi-pass

20

400

High Pass Frequency - The cutoff

frequency of the high pass filter is

continuously variable from 20Hz to 400Hz.

noise, bass rumble through coupling with
the stage or mains hum.

MIDAS

Operators Manual - Page 8

48v -15

padpower

+30 +45

mic gain

O

mic

60

hi-pass

20

-15 +15
5k 10k

treble

2k

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq

off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

1-2

3-4

5-6

7-8

mono

stereo

c

lr

pan

groups master
pan si s

MUTE

Mono Input ChannelsMono Input Channels

Channel Equalisation

+60+15

ins

160

400

20k

-15 +15
5k 10k

treble

Treble (Gain)

a centre detent at 0dB.

Treble (frequency)

- The gain of the treble equaliser is continuously variable from -15dB to +15dB with

2kHz to 20kHz.

2k

Hi-Mid (Gain)

200

+15

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq
off

with a centre detent at 0dB.

Hi-Mid (frequency)

400Hz to 8kHz.

Lo-Mid (frequency)

100Hz to 2kHz.

2k

Lo-Mid (Gain)

with a centre detent at 0dB.

Bass (frequency)

to 200Hz.

200

Bass (Gain)

centre detent at 0dB.

+15

- The Equaliser can be enabled by depressing the EQ On switch. Otherwise changes on the

EQ On

Equaliser controls have no effect. This can be used to compare the sound with and without EQ

eq

during sound check.

on

EQ Off (aux pre)

- The gain of the hi-mid equaliser is continuously variable from -15dB to +15dB

- The gain of the lo-mid equaliser is continuously variable from -15dB to +15dB

- The centre frequency of the bass equaliser is continuously variable from 20Hz

- The gain of the bass equaliser is continuously variable from -15dB to +15dB with a

- If desired, the channel signal can be sent to the auxiliary outputs without

equalisation. Depressing the EQ Off (Aux Pre) switch causes pre-fader auxiliary sends 1-6 to be
sourced before the channel equaliser (Pre-EQ) as the factory standard. However aux sends 7-8 can be linked to
the pre EQ off switch, as well as 1-6, via an internal jumper (refer to the service manual or contact your
authorised Midas service agent). Note: Post fader sends are always Post EQ.

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

- The centre frequency of the treble equaliser is continuously variable from

- The centre frequency of the hi-mid equaliser is continuously variable from

- The centre frequency of the lo-mid equaliser is continuously variable from

SOLO

10

10

15

20

30

40

MIDAS

5

0

5

18

12

0

-18

mute 1

mute 2

mute 3

mute 4

Operators Manual - Page 9

48v -15

padpower

+30 +45

mic gain

O

mic

60

hi-pass

20

-15 +15
5k 10k

treble

2k

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq

off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

1-2

3-4

5-6

7-8

mono

stereo

c

lr

pan

groups master
pan si s

MUTE

Mono Input ChannelsMono Input Channels

Auxiliary Outputs

+60+15

ins

160

400

20k

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

Post-Fade

aux sends are sourced after the channel Insert, Mute, EQ and channel Fader. As a result, the actual

level sent to the aux buss is proportional to the aux send control AND the channel fader.

Typical uses of auxiliaries are:

2k

Application Pre/Post Fade Reason

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

200

+15

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

aux 6

aux 7

pre

aux 8

pre

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

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

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

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

0

individually sourced either Post Fader or Pre Fader using the selector switch on the channel and
can not be set pre-EQ. However aux sends 7-8 can be linked to the pre EQ off switch, as well as 1­6, via an internal jumper (refer to the service manual or contact your authorised Midas service

+6

0

agent).

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

+6

0

+6

Aux Send Level

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

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

Pre-Fade

auxiliary (aux) sends are sourced after the channel Insert,

Mute and EQ but before the channel fader (and EQ if the Aux Pre EQ

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

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

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

excluding PAN

.

SOLO

10

10

15

20

30

40

MIDAS

5

0

5

18

12

0

-18

mute 1

mute 2

mute 3

mute 4

Aux 7/8 Pre

- Auxiliary 7 and 8 sends are assignable Pre of Post fader. When depressed, the auxiliary is sources

pre-fader (i.e. the channel fader has no effect upon the level of the signal sent to the auxiliary).

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

Operators Manual - Page 10

48v -15

padpower

+30 +45

mic gain

O

mic

60

hi-pass

20

-15 +15
5k 10k

treble

2k

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq

off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

1-2

3-4

5-6

7-8

mono

stereo

c

lr

pan

groups master
pan si s

MUTE

SOLO

10

18

12

5

-18

0

5

mute 1

10

15

mute 2

20

mute 3

30

40

mute 4

MIDAS

Mono Input ChannelsMono Input Channels

Pan and Routing

+60+15

ins

160

400

20k

Group sends are post channel equalisation, mute and fader.

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

1.

Pre-Pan (mono)

Each group is sent the same mono signal.

2k

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

2.

Post-Pan (stereo)

200

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

+15

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

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

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

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

For example:

Group 1-8

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

Application Config. Reason

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

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

- Depressing the group switch
routes the channel signal to the group
busses as described above.

Mono

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

Pan

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

0

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

Groups Pan

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

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

Groups

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

without affecting the stereo image used at FOH.

output allowing for separate levelcontrol but retaining the original

stereo image from FOH.

groups

mono

1-2

3-4

5-6

7-8

stereo

Stereo

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

Master SIS

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

- Depressing the stereo switch

- The master SIS switch will

output as normal. However, when panned

c

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

lr

pan

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

groups master
pan s i s

MUTE

while retaining the stereo for backing
vocals and instruments.

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

Operators Manual - Page 11

48v -15

+30 +45

mic gain

O

mic

60

hi-pass

20

-15 +15
5k 10k

treble

2k

-15 +15
1k

hi-mid

4003k8k

300 1k

lo-mid

100

-15 +15

50 100

bass

20

-15

aux pre

eq

off

aux 1

aux 2

aux 3

aux 4

aux 5

aux 6

aux 7

pre

aux 8

pre

groups

1-2

3-4

5-6

7-8

mono

c

padpower

stereo

Mono Input ChannelsMono Input Channels

+60+15

ins

160

400

Solo

- When depressed, the channel signal

will be sent to the After Fade Listen (AFL)

20k

stereo and Pre Fade Listen (PFL) mono

SOLO

outputs. The solo LED indicator will
illuminate to show that the channel solo is
active.

10

10

15

20

30

40

18

12

5

-18

0

5

mute 1

mute 2

mute 3

mute 4

0

2k

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

200

+15

eq
on

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

0

+6

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

Channel Fader

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

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

Mute 1,2,3 & 4

- The Verona has four (4) automute busses that can be controlled from the centre section of the

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

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

Channels Reason

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

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

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

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

Note: The LED meter and the direct output
are fed from the same source and are Post­Insert and EQ but Pre-Fader and Mute. The
channel in-line meter and direct output are
unaffected by the channel mute or
automutes.

lr

pan

groups master
pan si s

MUTE

SOLO

10

18

12

5

-18

0

5

mute 1

10

15

mute 2

20

mute 3

30

40

mute 4

MIDAS

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

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

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

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

0

Operators Manual - Page 12

Multi Function

Input Channel

Operators Manual - Page 13

Rear Panel

51

insert

direct

out

Multi Function Input ChannelsMulti Function Input Channels

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

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

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

wired insert where:

line L

line in left

(stereo only)

line in right

line

in

- Channel Signal Send

Tip

- Channel Signal Return

Ring
Sleeve

- Signal Common Ground

The insert points operate at a nominal level of 0dBu and acts only upon the MIC input.

Balanced XLR and Jack inputs are conventionally wired:

mic

PUSH

- 1. Screen - 2. Hot Signal - 3. Cold Signal

XLR

- T. Hot Signal - R. Cold Signal - S. Screen

TRS

Front Panel

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

48v Power

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

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

Mic Ø

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

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

48v -15

+30 +45

mic gain

O

mic

Mic Pad

attenuation on the input to allow the
connection of high output microphones
and line level signals (to the microphone
input) without overloading the channel’s
input amplifier.

padpower

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

Mic Gain

+60+15

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

ins

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

Ins

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

- The Pad switch provides 15dB

- The microphone gain is

- The insert switch enables the channel

hi-pass

line gain

mono

0

stereo

image

+20

80Hz

wide

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

Hi-Pass

- The high pass switch enables an 80Hz high pass filter on the microphone input. This
is commonly used to remove handling noise, bass rumble through coupling with the stage or
mains hum.

Line Gain

Note: On stereochannels, the channel HPF has no effect upon the left andright line inputs.

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

Image

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

Note: The Lineand MIC inputs are summed together and can be used simultaneouslysharing the channel controls.

Operators Manual - Page 14