Midas Consoles VENICE 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: midasconsoles.com

(359 941)

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
maintance (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. Do not expose this apparatus to dripping or splashing and ensure that no objects
filled with liquids, such as vases, ase placed on this apparatus.

6. Clean only with a dry cloth.

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

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

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

10. Refer all servicing to qualified service personnel. Servicing is required when the apparatus (including amplifiers) 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.

11.To completely disconnect mains power from this apparatus, the power supply cord must be unplugged.

For US and CANADA only:
Do not defeat the safety purpose of the grounding-type plug. A grounding type plug has two blades and a third
grounding prong. The wide blade or the third prong are provided for your safety. When the provided plug does not
fit into your outlet, consult an electrican for replacement of the absolete outlet.

IMPORTANT SERVICE INSTRUCTIONS

CAUTION: These servicing instructions are for use by qualified personnel only. To reduce the risk of
electric shock, do not perform any servicing other than that contained in the Operating
Instructions unless you are qualified to do so. Refer all servicing to qualified service personnel.

1. Security regulations as stated in the EN 60065 (VDE 0860) and the CSA E65 - 94 have to be obeyed when
servicing the appliance.

2. Use of a mains separator transformer is mandatory during maintenance while the appliance is opened, needs to be
operated and is connected to the mains

3. Switch off the power before retrofitting any extensions, changing the mains voltage or the output voltage.

4. The minimum distance between parts carrying mains voltage and any accessible metal piece (metal enclosure),
respectively between the mains poles has to be 3 mm and needs to be minded at all times.
The minimum distance between parts carrying mains voltage and any switches or breakers that are not connected
to the mains (secondary parts) has to be 6 mm and needs to be minded at all times.

5. Replacing special components that are marked in the circuit diagram using the security symbol (Note) is only
permissible when using original parts.

6. Altering the circuitry without prior consent or advice is not legitimate.

7. Any work security regulations that are applicable at the location where the appliance is being serviced have to be
strictly obeyed. This applies also to any regulations about the work place itself.

8. All instructions concerning the handling of MOS - circuits have to be observed.

Note: SAFETY COMPONENT (HAS TO BE REPLACED WITH ORIGINAL PART ONLY)

2

VENICE CONNECTORS

VENICE 160

VENICE 240

Input / Output XLR

Pin 1: Ground
Pin 2: Hot
Pin 3: Cold

VENICE 320

Tape IN / OUT

Lamp out

Pin 1: Chassis
Pin 2: n.c.
Pin 3: Ground
Pin 4: +12V

External Power Supply

3

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.

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.

INTERNAL POWER SUPPLY

he console is equipped with an internal power supply. It must be set for the appropriate line voltage and pluged

T

in to the mains outlet using the supplied cable.

MAINS VOLTAGE SETTING

The console is shipped with a specified mains voltage setting
(see rear panel marking). If the mains voltage is ever changed by
the mains voltage selector at the bottom of the console, the mains
fuse has to be changed as well to the rating matching the selected
voltage on the label.

ADDITIONAL EXTERNAL POWER SUPPLY FOR VENICE 240/320

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 external power-supply
overrides the internal supply after power on. The internal supply acts in this case as spare supply.

THE CONSOLE AND THE EXTERNAL POWER SUPPLY SHOULD NEVER BE OPERATED

WITH THE MAINS EARTH DISCONNECTED

Please note that the power supply contains LETHALVOLTAGES and that its 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 qualified engineers.

4

CONTENTS

Mono Input Channel Page 6
Stereo Input Channel Page 10
Groups Page 15
Effects Page 16
Monitor Page 17
AUXes Page 18
Master A/B Tape In Page 19
Talkback / Phones & Speak Page 20
Display / Lamp / Phones Page 21
Block Diagrams Page 62
Specifications Page 65
Dimensions Page 68

Rack Mounting Page 69

5

MIDAS VENICE

MONO INPUT

CHANNEL

6

The Venice Mono Channel is
equipped with an XLR input,
which can be used for Mic or
Line level signals up to
+22dBu. An additional ¼ inch
jack socket, provides an input
for line level signals, which re­quire protection against acci­dental 48 volt connection. The
Line input gives 20dB of per­manent attenuation to the input
signal which will allow the con­nection of extreme high line­level signals up to +42dBu.

The HI PASS switch connects
the the 80Hz hi-pass-filter in the
input channel signal path before
the insert point and equaliser.

The HI MID control gives conti­nuous adjustment of boost and
cut from + 15dB to - 15dB with
a 0dB centre detent.

The +48V led monitors if phan­tom power is assigned. The
+48V switch for each channel is
placed on the rear-panel of the
console. It connects +48V phan­tom power to the XLR input con­nector. This is suitable for a
condenser microphone or DI
box.

The GAIN control gives conti­nuous adjustment of the input
amplifier gain from 0dB to
+60dB for the Mic input and

- 20dB to + 40dB for the Line
input.

The TREBLE control gives con­tinuous adjustment of boost and
cut from + 15dB to - 15dB with a
0dB centre detent. The treble
equaliser acts on 12kHz with a
traditional MIDAS shelving re­sponse.

The LO MID control gives con­tinuous adjustment of boost and
cut from + 15dB to - 15dB with
a 0dB centre detent.

The BASS control gives conti­nuous adjustment of boost and
cut from + 15dB to - 15dB with
a 0dB centre detent. The bass
equaliser acts on 80Hz with a tra­ditional MIDAS shelving re­sponse.

The HI MID FREQ control gives
continuous adjustment of the fre­quency range that the hi mid
equaliser acts on from 400Hz to
8kHz with a 1 octave bandwith.

The LO MID FREQ control gi­ves continuous adjustment of the
frequency range that the lo mid
equaliser acts on from 100Hz to
2kHz with a 1 octave bandwith.

The EQ switch connects the
equaliser in the input channel si­gnal path.

7

The FX controls give continuous
adjustment of the post fader level
sent from the input channel to the
FX busses. The level adjustment
is from + 10dB to off with 0dB
at the centre position of the rota­ry control.

The AUX controls give conti­nuous adjustment of the level
sent from the input channel to the
AUX busses. The level adjust­ment is from + 10dB to off with
0dB at the centre position of the
rotary control.
AUX1 and 2 can be configured
globally for pre- or post-fader
operation by pressing the
PRE/POST switch on the appro­priate AUX-rail in the master
section.

The MON controls give conti­nuous adjustment of the pre- fa­der and pre- equaliser signal sent
from the input channel to the
MON busses. The level adjust­ment is from + 10dB to off with
0dB at the centre position of the
rotary control.

The PAN controls the channel
placement within the master ste­reo- or group mix and has a con­stant power law. i.e. - 3dB at the
centre position and 0dB or off at
either extreme setting.

The MUTE switch mutes the in­put channel at all points after the
insert send, including all auxili­ary sends.

8

The SOLO switch sends the in­put channel signal to the PFL /
mono-and AFL / stereo busses.
If the switch is engaged, the
mon1/2 meters are automatically
used for solo metering.

The FADER gives continuous
adjustment of the input channel
level from + 10dB to off.

The SIGNAL (-16dBu) / PEAK
(+16dBu) display monitors the
peak signal level of the pre fader
input channel.

The 1-2 switch connects the post
fader channel signal to the group
1-2 busses via the pan control.

The 3-4 switch connects the post
fader channel signal to the group
3-4 busses via the pan control.

The MAS switch connects the
post fader channel signal to the
master stereo bus via the pan con­trol.

9

MIDAS VENICE

STEREO INPUT

CHANNEL

10

The Venice stereo input chan­nel is equipped with an XLR
input which can be used for Mic
or Line level signals up to
+22dBu. Two additional ¼ inch
jack sockets, provide an input
for Stereo- or Mono Line level
signals up to +28dBu. The ste­reo channel features the same
hi-value microphone pre-amp
as the mono channel. Because
the stereo input channel uses in­dependet circuits for Mic and
Stereo Line , it is possible to
have all inputs connected at the
same time, without interfe­rence.

The LINE TRIM control gives
continuous adjustment of the ste­reo input amplifier gain from ­20dB to + 20dB for the Stereo
Line input.

The HI MID control gives conti­nuous adjustment of boost and
cut from + 15dB to - 15dB with
a 0dB centre detent. The HI MID
equaliser acts on 3kHz with a 1.4
octaves bandwith.

The +48V switch for each chan-

nel is positioned at the rear panel
of the console. It connects +48 V
phantom power to the XLR input
connector. This is suitable for a
condenser microphone or DI
box.

The MIC GAIN control gives
continuous adjustment of the in­put amplifier gain from 0dB to
+ 60dB for the Mic input.

The HI PASS switch connects
the the 80Hz hi-pass-filter in the
input channel signal path right
after the mic input amplifier.

The TREBLE control gives con­tinuous adjustment of boost and
cut from + 15dB to - 15dB with
a 0dB centre detent. The treble
equaliser acts on 12kHz with a
traditional MIDAS shelving re­sponse.

The BASS control gives conti­nuous adjustment of boost and
cut from + 15dB to - 15dB with
a 0dB centre detent. The bass
equaliser acts on 80Hz with a
traditional MIDAS shelving re­sponse.

The LO MID control gives con­tinuous adjustment of boost and
cut from + 15dB to - 15dB with
a 0dB centre detent. The LO
MID equaliser acts on 300Hz
with a 1.4 octaves bandwith.

The EQ switch connects the
equaliser in the input channel si­gnal path.

11

The FX controls give continuous
adjustment of the level sent from
the input channel to the FX bus­ses. The level adjustment is from
+ 10dB to off with 0dB at the
centre position of the rotary con­trol. The FX controls are connec­ted post-fader and send the
mixed left/right signal to the FX
busses.

The AUX controls give conti­nuous adjustment of the mixed
left/right signal level sent from
the input channel to the AUX
busses. The level adjustment is
from + 10dB to off with 0dB at
the centre position of the rotary
control. AUX1 and 2 can be con­figured globally for pre- or post­fader operation by pressing the
PRE/POST switch on the appro­priate AUX-rail in the master
section.

The MUTE switch mutes the in­put channel at all points, inclu­ding all auxiliary sends.

The MON controls give conti­nuous adjustment of the level
sent from the input channel to the
MON busses. The level adjust­ment is from + 10dB to off with
0dB at the centre position of the
rotary control. The MON con­trols are connected pre fader, pre
equaliser and send the mixed
left/right signal to the MON bus­ses.

The BAL (pan) control is used to
balance the relative levels of the
left and right channel signals that
are sent to the masters or groups.
The control has a constant power
law, i.e. -3dB at the centre posi­tion and + 0dB or off at either
extreme setting. If the Stereo
channel used as mono input, the
BALANCE (pan) controls the
channel placement within the
master stereo- or group mix.

12

The SOLO switch sends the input
channel signal to the PFL/ mono
and AFL/ stereo busses. If the
switch is engaged, the mon1/2
meters are automatically used for
solo metering.

The SIGNAL (-16dBu) / PEAK
(+16dBu) display monitors the
peak signal level of the pre fader
input channel.

The FADER gives continuous
adjustment of the input channel
level from + 10dB to off.

The 1-2 switch connects the post
fader channel signal to the group
1-2 busses via the bal (pan) con­trol.

The 3-4 switch connects the post
fader channel signal to the group
3-4 busses via the bal (pan) con­trol.

The MAS switch connects the
post fader channel signal to the
master stereo bus via the bal
(pan) control.

13

MIDAS VENICE

MASTER SECTION

14

The PAN controls the group pla­cement within the master stereo­mix and has a constant power
law i. e. -3dB at the centre posi­tion and 0dB or off at either ex­treme setting.

The SOLO switch sends the
group signal to the PFL / mono
and AFL / stereo busses. If the
switch is engaged the mon 1/2
meters are automatically used
for solo metering

The GROUP faders give conti­nuous adjstment of the sub group
output levels from +10dB to off.

The MAS switch connects the
post fader group signals to the
stereo master bus via the pan
control.

The SIGNAL (-16dBu) PEAK
(+16dBu) display monitors the
signal level of the group bus.

15

The FX SEND control gives con­tinuous adjustment of the FX
send output level from +10dB to
off with 0dB at the centre positi­on of the rotary control.

The 1-2 switch connects the post
fader FX- return left signal to the
group 1 bus and right signal to
the group 2 bus.

The 3-4 switch connects the post
fader FX- return left signal to the
group 3 bus and right signal to
the group 4 bus.

The MON controls give conti­nuous adjustment of the pre- fa­der signal sent from the FX­return channel to the MON bus­ses. The level adjustment is from
+ 10dB to off with 0dB at the
centre position of the rotary con­trol.

The MAS switch connects the
post fader FX- return stereo si­gnal to the stereo master bus.

The MUTE switch mutes the FX­return at all pointes.

The SOLO switch sends the FX­return signal to the PFL / mono
and AFL / stereo busses. If the
switch is engaged the mon 1/2
meters are automatically used
for solo metering

The FADER gives continous ad­justment of the FX- return level
from +10dB to off.

16

The MUTE switch mutes the
monitor send output signal.

The SOLO switch routes the mo­nitor send signal to the PFL/
mono and AFL/ stereo busses. If
the switch is engaged, the mon
1/2 meters are automatically
used for solo metering.

The MON SEND fader gives
continuous adjustment of the
monitor send signal from +10dB
to off.

17

The global AUX PRE/POST
switch configures the aux bus
either in pre- fader (mon) or
post-fader (fx) operation. The
LEDs next to the switch provide
indication of status.

The MUTE switch mutes the aux
send output signal. It does not af­fect the aux return.

The AUX SEND control gives conti­nuous adjustment of the aux send out­put level from +10dB to off with 0dB
at the centre position of the rotary
control.

The AUX RETURN control gives
continuous adjustment of the stereo
aux return level from +10dB to off
with 0dB at the centre position of the
rotary control. The aux return signals
are directly routed to the L/R master
busses.

The SOLO switch routes the aux send
signal to the PFL/ mono and AFL/
stereo busses. Whenever a solo switch
is engaged the man 1/2 display is auto­matically used for solo metering.

18

The MON controls give continuous adjust­ment of the level sent from the aux return to
the MON busses. The level adjustment is
from +10dB to off with 0dB at the centre
position of the rotary control.

The TAPE inputs provide a feed
from an unbalanced phono sour­ce to the stereo master busses or
to phones and speakers outputs.
The TAPE IN level control pro­vides nominal adjustment from
+20dB to off with 0dB at the cen­tre position of the rotary control.

The MASTERS B rotary control
gives continuous adjustment of
the masters B (stereo/mono) out­put level from +10dB to off with
0dB at the centre position of the
rotary control.

By the STEREO/MONO switch
the Master B outputs can be con­figured in two modes. In STE­REO mode the master b outputs
are fed with the stereo left and
right mix signals. In Mono mode
they are fed with the summed left
and right mix signal.

The MUTE switch mutes all si­gnals sent to master and master b
outputs. Only the Tape In signal
to masters is not affected by the
MUTE switch.

The MAS switch connects the
TAPE IN signal to the master
L/R busses right after the master
mute switch. This allowes i. e.
background music during a
show, even when the master
mute switch is engaged. The
MAS switch should be off during
recording via TAPE OUT.

The PRE/POST switch changes
the signals sent to the masters b
outputs from pre master fader to
post master fader.

The BAL control is used to ba­lanced the relative levels of the
left and right master signals that
are sent to the masters outputs.
The control has a constant power
law, i. e. 0dB at the centre positi­on and +3dB or off at either ex­treme setting.

The stereo Fader gives continous
adjustment of the left and right
mix levels from +10dB to off.

19

The talkback LEVEL control gi­ves continuous adjustment of the
talkback signal from +50dB to
off. The talkback input accepts a
maximum input level of +8dBu.

The PHONES level control gi­ves continuous adjustment of the
level from +10dB to off at the
phones output a&b.

The non-latching MON switch
connects the talkback mic to
mon1 and mon2 busses.

The non-latching AUX switch
connects the talkback mic to
aux1 and aux2 pre-busses.

The non-latching GRP switch
connects the talkback mic to all
group busses.

The non-latching MAS switch
connects the talkback mic to left
and right master busses.

The SPEAKERS level control
gives continuous adjustment of
the signal at the speakers left and
right output from +10dB to off
with 0dB at the centre position of
the rotary control.

The SOLO control adjusts the
incoming solo level before sen­ding it to the headphones and
speaker outputs. The control
range is -20dB to +20dB with
0dB in centre position.

The SOURCE switch controls
whether the tape in or master si­gnal is present at the headphones
and control room speaker out­puts, if no solo button is engaged.

If a solo button is engaged the
PFL / AFL switch controls whe­ther the mono pre fader listen or
the stereo after fader listen signal
is present at the headphones and
control room speaker outputs.

20

The input for a TALKBACK Mi­crophone is provided via a 3pin­female XLR connector. The +48V
Phantom power is permanently
connected which is suitable for
condenser microphones.

A convenient connection for two
12V desk lamps is provided via the
4pin-female XLR connectors. The
power rating 5W is the maximum
rating per output and may not be

exceeded.

Whenever a solo button is en­gaged the SOLO led turns on
and the mon 1/2 metering is
automatically used as solo
meter.

In pfl-mode the mon1 meter
displays the signal level in
dBu of the selected solo sour­ce at the pre- fader position.

In afl-mode the mon1 (afl-l)
and mon2 (afl-r) meters are
active and display the signal
levels in dBu in the stereo
image at the after- fader posi­tion.

The 1/4 inch jack sockets
provide stereo outputs for
two PHONES. Both outputs
are controlled via the phones
rotary control.

The MON meters display the
post fader peak signal levels of
the monitor outputs. Whenever a
solo button is engaged the meter
displays the peak signal levels of
the selected pfl or afl solo source.

The MASTER meters monitor
the peak signal levels of the ma­ster outputs left and right (post
fader).

21

BLOCK DIAGRAMS

Mono Channel

22

Stereo Channel

FX-send, FX-return

Aux, Groups and Talkback

23

Master, Monitor, Tape and Solo

24

MIDAS VENICE SERIES PERFORMANCE SPECIFICATIONS

Features and Specifications Venice 160 Venice 240 Venice 320

Inputs (total) 30 38 46

Mono-Inputs (Mic/Line) with Inserts 8 16 24
Stereo-Line/Mono-Mic-Input Channels 4/4 4/4 4/4
Stereo-Effect-Returns (Line) 4 4 4
Stereo-Tape-Return (Line) 1 left/right

Busses 15
Subgroups 4
Aux Pre-Fader (Monitor) 2
Aux Post-Fader (Effects) 2
Aux switchable Pre/Post-Fader 2
Master L/R 2
Mono-PFL 1
Stereo-AFL 2

Outputs
Subgroups (with Inserts) 4 impedance balanced 1/4 inch jacks

Aux Pre-Fader (Monitor) 2 XLR (balanced)
Aux Post-Fader (Effects) 2 impedance balanced 1/4 inch jacks
Aux switchable Pre/Post-Fader 2 XLR (balanced)
Master (with Inserts) 2 XLR (balanced)
Master B Out 2 XLR (balanced)
(switchable Mono/Stereo, pre-post Fader)
Tape Send (Recording) 1 Stereo (Phono)
Direct Outputs (1/4 inch Jack) 8 16 24
Stereo-Headphones 2 Stereo-1/4 inch jack
Stereo-Speakers 2 impedance balanced 1/4 inch jacks

Size (mm/inch)
Width 490 / 19.3“ 698 / 27.5“ 906 / 35.7“
Depth 568 / 22.4“ 568 / 22.4“ 568 / 22.4“
Heights 194 / 7.6“ 194 / 7.6“ 194 / 7.6“

Weight (kg/lbs) 16,4 / 36.2 21,1/ 46.5 25,8 / 56.9

Power Consumption 75W 95W 120W

Mains Voltage 110V/120V/220V/230V/240V, 50-60Hz
Additional Features

Connector for desk lamps 2 x 12V/5W (4-Pin XLR)
19“-rack-mounting- kit, yes - ­rotatable connector panel yes - ­External Power Supply (EPS 1200, not included) - yes yes

Accesories Dust Cover (included)

12 V Desk Lamp (not included)
Input Transformer (not included)

25

Venice Technical Specifications

Input Impedance Mic 2k Balanced

Line 20k Balanced

Input Gain Mic Continuously variable from

0dB to + 60dB

Line Mono Channel Continuously variable from

- 20dB to + 40dB

Line Stereo Channel Continuously variable from

- 20dB to + 20dB

Line Level Inputs 0dB

Maximum Input Level Mic + 22dBu

Line Level Inputs + 22dBu
Line Mono Channel + 42dBu

Line Stereo Channel + 28dBu
CMR at 100Hz Mic (gain + 40dB) Typ. 75dB
CMR at 1kHz Mic (gain + 40dB) > 85dB

Line > 45dB
Frequency Response Mic to Mix + 0dB to - 1dB

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

(gain + 60dB)
System Noise (20 to 20kHz)

Summing Noise - 90dBu

(16 channels routed

with faders down)

Line to Mix Noise - 86dBu

(16 channels routed

at 0dB, pan centre)
Distortion at 1kHz Mic to Insert (+ 30dB Typ 0.0007%

gain, + 20dBu output)

Mic to Mix (+30dB < 0.009%

gain, + 20dBu output)
Crosstalk at 1kHz Channel to Channel < - 80dB

Mix to Mix < - 80dB

Channel to Mix < - 80dB

Fader Attenuation > 100dB

Switch Rejection > 100dB
Output Impedance All Line Outputs 75 Ohms Balanced Source

Headphones To drive 32ohms
Maximum Output Level Master Outputs on XLR + 25dBu

All other Outputs on XLR + 22dBu

All Outputs on 1/4 inch jacks + 22dBu

Headphones + 22dBu/600ohms
Nominal Signal Level Mic - 60dBu to 0 dBu

Line 0dBu

26

Equaliser Mono Channel Hi Pass Slope 12dB / Oct

Hi Pass Frequency 80Hz

Treble Gain Continuously variable

+ 15 dB to - 15 dB
Centre detent = 0dB

Treble Frequency 12k

Hi Mid Gain Continuously variable

+ 15 dB to - 15 dB
Centre detent = 0dB

Hi Mid Frequency Continuously variable

Centre from 400Hz to 8k
Hi Mid Bandwidth 1 Oct. (Q = 1.4)
Lo Mid Gain Continuously variable

+ 15 dB to - 15 dB

Centre detent = 0dB
Lo Mid Frequency Continuously variable

Centre from 100Hz to 2k
Lo Mid Bandwith 1 Oct. (Q = 1.4)
Bass Gain Continuously variable

+ 15 dB to - 15 dB

Centre detent = 0dB
Bass Shelving Frequency 80Hz

Equaliser Stereo Channel Hi Pass Slope 12dB / Oct

Hi Pass Frequency 80Hz
Treble Gain Continuously variable

+ 15 dB to - 15 dB

Centre detent = 0dB
Treble Frequency 12k
Hi Mid Gain Continuously variable

+ 15 dB to - 15 dB

Centre detent = 0dB
Hi Mid Frequency 3k
Hi Mid Bandwidth 1.4 Oct. (Q = 1)
Lo Mid Gain Continuously variable

+ 15 dB to - 15 dB

Centre detent = 0dB
Lo Mid Frequency 300Hz
Lo Mid Bandwidth 1.4 Oct. (Q = 1)
Bass Gain Continuously variable

+ 15 dB to - 15 dB

Centre detent = 0dB
Bass Shelving Frequency 80Hz

27

DIMENSIONS

28

Venice 160

Modification for Venice 160 Rack Mounting

The Venice 160 comes with additonal rack mounting
brackets. For modification you need a Torx
screwdriver type T20 (fig.1) and Phillips screwdrivers
type Ph1 (fig. 2) and type Ph2 (fig.3). To modify the
Venice 160 for rack mounting follow these steps:

1. Disconnect the unit from mains by all means.
Remove all cables (mains, audio, lamp, etc.).

2. Loosen the 16 screws shown in fig. 4 with the
Torx screwdriver and remove the two plastic
side covers and the armrest. Keep the side
covers, the armrest and the screws for later use.

Attention: If you wish to rotate the connection
panel in addition to the rack bracket mounting
(fig. 6), perform steps 3 – 8. If not, proceed directly
to step 9.

3. Turn the unit upside down and place it carefully
on a smooth support.

4. Loosen the 8 screws fastening the cover sheet
and the connection panel on the sides of the unit
(fig. 5) with the Phillips screwdriver type Ph1.

5. Then dismount the connection panel with the 6
screws (fig. 5). Be careful not to unplug the
cable connectors by mistake. Then remove the
cover sheet via 3 further screws.

6. The cover sheet must be mounted with the
angular side up, like shown in fig. 6. The
connection panel is now mounted in such a way
that the mains socket is left upwards on the unit
(fig. 6).

7. The cover sheet and the connection panel are
fastened additionally with 8 screws on the sides
of the unit.

8. Turn the unit and place it with the control panel
upside.

9. Finally the rack brackets are fastened with the
screws contained in the mounting set (fig. 7) by
using the Phillips screwdriver type Ph2.

Warning: Use only screws which were loosened
during modification or such ones, which are contained
in the mounting set.

fig. 1 fig. 2 fig. 3

fig. 4

fig. 5

fig. 6

fig. 7