Midas Consoles VU32 Operator Manual

U16, U24 and U32

Professional Audio Mixing Consoles

Operator Manual

MUSIC Group Research UK Limited,

Klark Industrial Park,

Walter Nash Road,

Kidderminster.

Worcestershire.

DY11 7HJ.

England.

Tel: [phone]

Fax: [phone]

Email: [e-mail]
Website: www.midasconsoles.com

DOC02-VENICEU Issue B — September 2012

© 2012 MUSIC Group IP Ltd. Technical specifications and appearances are subject to change without notice and accuracy is not

guaranteed. MIDAS and KLARK TEKNIK are part of the MUSIC Group (music-group.com).

VeniceU — Operator Manual

© MUSIC Group IP Limited

VeniceU Operator Manual iii

CAUTION

ATTENTION

RISK OF ELECTRIC SHOCK!

DO NOT OPEN!

RISQUE DE CHOC ELECTRIQUE!

NE PAS OUVRIR!

Important safety instructions

Terminals marked with this
symbol carry electrical current of
sufficient magnitude to constitute

risk of electric shock. Use only
high-quality commercially-available speaker
cables with ¼" TS plugs pre-installed. All other
installation or modification should be performed
only by qualified personnel.

This symbol, wherever it appears,

alerts you to the presence of

uninsulated dangerous voltage

inside the enclosure - voltage that
may be sufficient to constitute a risk of shock.

This symbol, wherever it appears,

alerts you to important operating

and maintenance instructions in

the accompanying literature.
Please read the manual.

Caution

To reduce the risk of electric

shock, do not remove the top

cover (or the rear section). No
user serviceable parts inside. Refer servicing to
qualified personnel.

Caution

To reduce the risk of fire or

electric shock, do not expose this

appliance to rain and moisture.
The apparatus shall not be exposed to dripping or
splashing liquids and no objects filled with liquids,
such as vases, shall be placed on the apparatus.

Caution

These service instructions are for

use by qualified service personnel

only. To reduce the risk of electric
shock do not perform any servicing other than that
contained in the operation instructions. Repairs
have to be performed by qualified service
personnel.

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 dry cloth.
7 Do not block any 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 Use only 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 service
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 The apparatus shall be connected to a
MAINS socket outlet with a protective earthing
connection.

16 Where the MAINS plug or an appliance
coupler is used as the disconnect device, the
disconnect device shall remain readily operable.

Legal disclaimer

Technical specifications and appearances are
subject to change without notice and accuracy is
not guaranteed. MIDAS and KLARK TEKNIK are
part of the MUSIC Group (music-group.com). All
trademarks are the property of their respective
owners. MUSIC Group accepts no liability for any
loss which may be suffered by any person who
relies either wholly or in part upon any description,
photograph or statement contained herein.
Colours and specifications may vary slightly from
product. Midas products are sold through

authorized dealers only. Distributors and dealers
are not agents of MUSIC Group and have
absolutely no authority to bind MUSIC Group by
any express or implied undertaking or
representation. This manual is copyrighted. No
part of this manual may be reproduced or
transmitted in any form or by any means,
electronic or mechanical, including photocopying
and recording of any kind, for any purpose,
without the express written permission of MUSIC
Group IP Limited

ALL RIGHTS RESERVED.
© 2012 MUSIC Group IP Limited
Trident Chambers, Wickhams Cay, P.O. Box 146,
Road Town, Tortola, British Virgin Islands

Limited warranty

§ 1 Warranty

1. This limited warranty is valid only if you
purchased the product from a MUSIC Group
authorized dealer in the country of purchase. A list
of authorized dealers can be found on MUSIC
Group's website www.midasconsoles.com, or you
can contact the MUSIC Group office closest to
you.

2. MUSIC Group* warrants the mechanical and
electronic components of this product to be free of
defects in material and workmanship if used
under normal operating conditions for a period of
three (3) years from the original date of purchase
(see the Limited Warranty terms in § 4 below),
unless a longer minimum warranty period is
mandated by applicable local laws. If the product
shows any defects within the specified warranty
period and that defect is not excluded under § 4,
MUSIC Group shall, at its discretion, either
replace or repair the product using suitable new or
reconditioned product or parts. In case MUSIC
Group decides to replace the entire product, this
limited warranty shall apply to the replacement
product for the remaining initial warranty period,
i.e., three (3) years (or otherwise applicable
minimum warranty period) from the date of
purchase of the original product.

3. Upon validation of the warranty claim, the
repaired or replacement product will be returned
to the user freight prepaid by MUSIC Group.

4. Warranty claims other than those indicated
above are expressly excluded.

PLEASE RETAIN YOUR SALES RECEIPT. IT IS
YOUR PROOF OF PURCHASE COVERING
YOUR LIMITED WARRANTY. THIS LIMITED
WARRANTY IS VOID WITHOUT SUCH PROOF
OF PURCHASE.

§ 2 Online registration

Please do remember to register your new Midas
equipment right after your purchase at
www.midasconsoles.com and kindly read the
terms and conditions of our limited warranty

MUSIC Group IP Limited

iv VeniceU

carefully. Registering your purchase and
equipment with us helps us process your repair
claims quicker and more efficiently. Thank you for
your cooperation!

§ 3 Return materials authorization

1. To obtain warranty service, please contact
the retailer from whom the equipment was
purchased. Should your MUSIC Group dealer not
be located in your vicinity, you may contact the
MUSIC Group distributor for your country listed at
www.midasconsoles.com. If your country is not
listed please contact the “United Kingdom (Midas/
KT main office)” located under “Service
Service/Repairs” on the www.midasconsoles.com
website. Alternatively, please submit the online
warranty return form found under “Service
Warranty Registration” on
www.midasconsoles.com BEFORE returning the
product. All enquires must be accompanied by the
description of the problem and the serial number
of the product. The warranty eligibility will be
verified from the original sales receipt.

2. Subsequently, the product must be returned
in its original shipping carton, together with the
return authorization number to the address
indicated by MUSIC Group.

3. Shipments without freight prepaid will not be
accepted.





§ 4 Warranty Exclusions

1. This limited warranty does not cover
consumable parts including, but not limited to,
fuses and batteries. Where applicable, MUSIC
Group warrants the valves or meters contained in
the product to be free from defects in material and
workmanship for a period of ninety (90) days from
date of purchase.

2. This limited warranty does not cover the
product if it has been electronically or
mechanically modified in any way. If the product
needs to be modified or adapted in order to
comply with applicable technical or safety
standards on a national or local level, in any
country which is not the country for which the
product was originally developed and
manufactured, this modification/adaptation shall
not be considered a defect in materials or
workmanship. This limited warranty does not
cover any such modification/adaptation,
regardless of whether it was carried out properly
or not. Under the terms of this limited warranty,
MUSIC Group shall not be held responsible for
any cost resulting from such a modification/
adaptation.

3. This limited warranty covers only the product
hardware. It does not cover technical assistance
for hardware or software usage and it does not
cover any software products whether or not
contained in the product. Any such software is
provided "AS IS" unless expressly provided for in
any enclosed software limited warranty.

4. This limited warranty is invalid if the factory­applied serial number has been altered or
removed from the product.

5. Free inspections and maintenance/repair
work are expressly excluded from this limited
warranty, in particular, if caused by improper
handling of the product by the user. This also
applies to defects caused by normal wear and
tear, in particular, of faders, crossfaders,
potentiometers, keys/buttons, guitar strings,
illuminants and similar parts.

6. Damage/defects caused by the following
conditions are not covered by this limited
warranty:

• improper handling, neglect or failure to
operate the unit in compliance with the
instructions given in Midas user or service
manuals;

• connection or operation of the unit in any way
that does not comply with the technical or
safety regulations applicable in the country
where the product is used;

• damage/defects caused by acts of God/
Nature (accident, fire, flood, etc) or any other
condition that is beyond the control of MUSIC
Group.

7. Any repair or opening of the unit carried out

by unauthorised personnel (user included) will
void the limited warranty.

8. If an inspection of the product by MUSIC

Group shows that the defect in question is not
covered by the limited warranty, the inspection
costs are payable by the customer.

9. Products which do not meet the terms of this

limited warranty will be repaired exclusively at the
buyer's expense. MUSIC Group or its authorized
service centre will inform the buyer of any such
circumstance. If the buyer fails to submit a written
repair order within 6 weeks after notification,
MUSIC Group will return the unit C.O.D. with a
separate invoice for freight and packing. Such
costs will also be invoiced separately when the
buyer has sent in a written repair order.

10. Authorized MUSIC Group dealers do not sell

new products directly in online auctions.
Purchases made through an online auction are on
a "buyer beware" basis. Online auction
confirmations or sales receipts are not accepted
for warranty verification and MUSIC Group will not
repair or replace any product purchased through
an online auction.

§ 5 Warranty transferability

This limited warranty is extended exclusively to
the original buyer (customer of authorized retail
dealer) and is not transferable to anyone who may
subsequently purchase this product. No other
person (retail dealer, etc.) shall be entitled to give
any warranty promise on behalf of MUSIC Group.

§ 6 Claim for damage

Subject only to the operation of mandatory
applicable local laws, MUSIC Group shall have no
liability to the buyer under this warranty for any
consequential or indirect loss or damage of any
kind. In no event shall the liability of MUSIC Group
under this limited warranty exceed the invoiced
value of the product.

§ 7 Limitation of liability

This limited warranty is the complete and
exclusive warranty between you and MUSIC
Group. It supersedes all other written or oral
communications related to this product. MUSIC
Group provides no other warranties for this
product.

§ 8 Other warranty rights and national
law

1. This limited warranty does not exclude or limit
the buyer's statutory rights as a consumer in any
way.

2. The limited warranty regulations mentioned
herein are applicable unless they constitute an
infringement of applicable mandatory local laws.

3. This warranty does not detract from the
seller's obligations in regard to any lack of
conformity of the product and any hidden defect.

§ 9 Amendment

Warranty service conditions are subject to change
without notice. For the latest warranty terms and
conditions and additional information regarding
MUSIC Group's limited warranty, please see
complete details online at
www.midasconsoles.com.

* MUSIC Group Macao Commercial Offshore Limited of Rue de
Pequim No. 202-A, Macau Finance Centre 9/J, Macau, including
all MUSIC Group companies

MUSIC Group IP Limited

Other important information

1 Register online. Please register your new Midas equipment right
after you purchase it by visiting www.midasconsoles.com. Registering your
purchase using our simple online form helps us to process your repair claims
more quickly and efficiently. Also, read the terms and conditions of our
warranty, if applicable.

2 Malfunction. Should your MUSIC Group Authorized Reseller not
be located in your vicinity, you may contact the MUSIC Group Authorized
Fulfiller for your country at www.midasconsoles.com. If your country is not
listed please contact the “United Kingdom (Midas/KT main office)” located
under “Service
website. Alternatively, please submit the online warranty return form found
under “Service  Warranty Registration” on www.midasconsoles.com
BEFORE returning the product. All enquires must be accompanied by the
description of the problem and the serial number of the product. The
warranty eligibility will be verified from the original sales receipt.

3 Power Connections. Before plugging the unit into a power socket,
please make sure you are using the correct mains voltage for your particular
model. Faulty fuses must be replaced with fuses of the same type and rating
without exception.

 Service/Repairs” on the www.midasconsoles.com

Operator Manual v

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.

vi VeniceU

MUSIC Group IP Limited

vii

Contents

Important safety instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

Other important information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v

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

Overview of the VeniceU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

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

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

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

External connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Signal flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Mix matrix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Service and support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Chapter 2 Getting Started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Handling the equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Electric fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Connecting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Audio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Connecting to balanced/unbalanced equipment . . . . . . . . . . . . . . . 15

Other connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

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

Switching the VeniceU on/off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Chapter 3 Using The VeniceU With USB . . . . . . . . . . . . . . . . . . .19

Windows 7 operating system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Using the Archwave USB Driver Control Panel . . . . . . . . . . . . . . . . 21

Mac operating system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Configuring the supplied third party recording software . . . . . . . . . 29

Updating the VeniceU firmware . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Troubleshooting USB operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Audio problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Avoiding drop outs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

No devices found . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Overcoming ground loop problems . . . . . . . . . . . . . . . . . . . . . . . . 33

Chapter 4 Working With The Console. . . . . . . . . . . . . . . . . . . . . 35

Ground loop problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Chapter 5 Mono Input Channel. . . . . . . . . . . . . . . . . . . . . . . . . .37

Overview of the mono input channel . . . . . . . . . . . . . . . . . . . . . . . . . 38

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

VeniceU
Operator Manual

viii Contents

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Auxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Pan, mute and solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Fader, routing and meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Chapter 6 Multifunction Input Channel . . . . . . . . . . . . . . . . . . . 47

Overview of the multifunction input channel . . . . . . . . . . . . . . . . . . . .48

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Gain (mic inputs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Stereo line inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Auxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Balance, mute and solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Fader, routing and meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Chapter 7 Output Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Overview of the outputs section . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

Output module notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Group-aux changeover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Meter changeover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Matrices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Stereo returns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Auxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Master outputs (mono and stereo) . . . . . . . . . . . . . . . . . . . . . . . . . .69

Talkback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Playback and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Local monitor and phones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Lamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Appendix A Functional Block Diagrams . . . . . . . . . . . . . . . . . . . . 75

Mono input module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

Stereo input module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

Master and monitor modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

Appendix B Technical Specification . . . . . . . . . . . . . . . . . . . . . . . 83

Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85

Appendix C Application Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

Headroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

Operator Manual

VeniceU

Contents ix

The effect of EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Dynamic processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Unity Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Signal Processing and Amplifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

FOH mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

MON mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Dual FOH/MON Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Appendix D Crib Sheets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

Mono input channels

Notes: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Multifunction input channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Appendix E Best Grounding Practice. . . . . . . . . . . . . . . . . . . . . . .97

Safety first . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Ground loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Noise sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Noise solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Balanced connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Balanced transformers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Screen termination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Ground referenced connections . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Unbalanced connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Signal ground lift . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

XLR shells . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Signal ground bonding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Appendix F Service Information . . . . . . . . . . . . . . . . . . . . . . . . . 107

Routine maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Cleaning the console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Special accessories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Optional equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Equipment disposal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

VeniceU
Operator Manual

x Contents

Operator Manual

VeniceU

Chapter 1: Introduction

Thank you for choosing a Midas VeniceU mixing console. The VeniceU 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
VeniceU meets the quality of build and performance that you would expect from a Midas
console.

1

VeniceU32

The VeniceU 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.

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

Overview of the VeniceU

The VeniceU is a premium quality, robust, live sound and studio, small format mixing
console. The VeniceU is available in three sizes — U16, U24 and U32 — and the U16
version can be mounted in a rack. The incorporation of USB 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 VeniceU
can also be used for monitors. The VeniceU 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 VeniceU has

VeniceU
Operator Manual

2 Chapter 1: Introduction

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

The VeniceU consoles (U16 left, U24 top and U32 bottom)

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

The VeniceU 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 VeniceU consoles (where: XLRF = XLR female; XLRM =
XLR male; TRS = 1/4” TRS Jack; and RCA = phono plug).

Item U16 U24 U32

Mic inputs 12 mono XLRF 20 mono XLRF 28 mono XLRF

Line inputs 8 mono and

8 stereo TRS

Aux returns 4 stereo TRS 4 stereo TRS 4 stereo TRS

Playback input 2 stereo RCA 2 stereo RCA 2 stereo RCA

Talkback mic input 1 XLRF 1 XLRF 1 XLRF

Aux mix buses (includes
2 monitors)

Audio subgroups 4 XLRM 4 XLRM 4 XLRM

Matrices 2 XLRM 2 XLRM 2 XLRM

6 XLRM 6 XLRM 6 XLRM

16 mono and
8 stereo TRS

24 mono and
8 stereo TRS

Stereo master output 2 XLRM 2 XLRM 2 XLRM

Operator Manual

VeniceU

Key features 3

Item U16 U24 U32

Mono master output XLRM XLRM XLRM

USB I/O 4 stereo

channel, Type B

The USB interface can be used with any personal computer (PC) fitted with a standard
USB 2.0 port, and is effectively a digital multi-channel cable (up to 8 in and 8 out
channels) for connecting the PC to the console. USB 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 dual stereo channel USB send/returns.

4 stereo
channel, Type B

4 stereo
channel, Type B

Key features

The VeniceU consoles include the following key features:

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

• Midas mic preamps — 12/20/28 overload-tolerant Midas mic preamps (the last

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

• EQ — each mono channel has a 4-band swept EQ (treble, hi mid, lo mid and bass).

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

channels.

• 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 USB. Analogue or digital (USB) input and analogue
or digital (USB) output.

• USB — up to 8 in and 8 out channel USB interface (USB type B socket) that provides

I/O connectivity to the multifunction input channels. The USB inputs feed the buses,
while the USB outputs are sourced from the buses and are selectable using the
changeover switches. Allows the use of external DAW-based effects and recording.

• Mono input channels — mic/line in, insert and direct out per channel. Each

channel mic pre-amp has +48V phantom volt, +20dB pad, 80Hz high pass filter and
polarity switches.

• Multifunction input channels — mono mic in, left (or mono) and right line in, and

stereo USB in (same mic pre-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 globally

switchable pre-/post-fader), 4 groups, 3 masters (2 stereo and a mono) and 2
matrices, all with hardware outputs.

• Returns — 2 stereo returns with flexible routing options.

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

• Routing — individual switch routing to stereo, mono and two pairs of groups.

• Metering — 4-LED meter per mono and stereo input channels, and per group, and

• Faders — high-precision 100 mm faders.

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

• I/O connectors — all main inputs and outputs are on balanced XLR connectors.

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Operator Manual

3 x 12-LED master/solo meters.

4 Chapter 1: Introduction

321

• Mains power supply — universal switch mode 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 VeniceU can be divided into the following main vertical sections.

Control surfaces of the VeniceU consoles showing the three mains areas

Operator Manual

VeniceU

Control surface 5

Item Description

1 See Chapter 5 "Mono Input Channel" on page 37

2 See Chapter 6 "Multifunction Input Channel" on page 47

3 See Chapter 7 "Output Section" on page 57

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Operator Manual

6 Chapter 1: Introduction

U16

89

1

7

2 3 54

1011

U24

U32

6

4

Rear panel

The VeniceU has a rear panel that houses the following.

Rear panels of the VeniceU consoles showing the main areas

Item Description

1 See “Master outputs (mono and stereo)” on page 69.

2 See “Stereo returns” on page 66, “Groups” on page 61, “Matrices” on

page 64, “Monitors” on page 67 and “Auxes” on page 68.

3 See Chapter 6 "Multifunction Input Channel" on page 47.

4 Ventilation grills. Do not obstruct.

5 See Chapter 5 "Mono Input Channel" on page 37.

6 See “Lamps” on page 74.

7 See “Switching the VeniceU on/off” on page 17.

8 See “USB” on page 50 and page 62.

9 See “Playback and recording” on page 72.

10 See “Local monitor and phones” on page 73.

11 Serial number plate.

Operator Manual

VeniceU

External connections 7

A

B

C

D

E

F

G

Rear panel of the VeniceU16 showing the main connector sections

A. Inserts and returns. B. Mono input channel (insert, direct out, line in and mic in).
C. Multifunction input channel (insert, direct out, line in left (mono) and right, and mic

in). 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 VeniceU.

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

2K load

source, 10K load

Mono and stereo channels

Mono and master
channels

Group, matrix and
monitor buses

Stereo returns

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Operator Manual

8 Chapter 1: Introduction

Connection(s) Description Notes

All primary outputs Balanced XLR connectors,

All secondary outputs
(direct outs)

Headphone outputs Jack connectors, 10R

Playback left and right
inputs and outputs

USB connection Type B connector Rear panel

Power connections IEC mains inlet

Signal flow

50R source

Balanced Jack connectors,
50R source

source (nominal +10dB)

Unbalanced phono
connectors: input is 47k
load -10dB and output is
600R source (nominal

-10dB)

4-pin XLR lamp power
outlets

Master channels

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

Mono channels

local monitor section of
outputs (control surface)

Rear panel

Rear panel

Under top edge of rear of
console or on control
surface (U16 only)

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

buses

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

buses

4 stereo line inputs The same numbered stereo channel and

then onwards (as above)

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

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

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

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

Operator Manual

VeniceU

Signal flow 9

The following table shows the signal flow in detail.

Signal Sourced from Routed to

Mono Balanced XLR mic/line

input or balanced Jack line

Buses, insert Jack, direct

output Jack
input (common gain
control with above) or
insert return

Stereo Balanced XLR mic/line

input and balanced Jack

Insert Jack (mic input

only), direct output Jack
line input (independent
gain control) or USB
connection

Stereo return Balanced Jack Buses

Group Bus Master and matrix buses,

insert Jack, group output

balanced XLR and optional

USB connection (in place

of aux send)

Aux Bus Aux output balanced XLR

and USB connection

Monitor Bus Insert Jack, monitor

output balanced XLR and

USB connection

Matrix Insert Jack Insert Jack, matrix output

balanced XLR and optional

USB connection (in place

of stereo master)

Stereo master bus Bus, input channels,

group buses, stereo
returns or playback

Mono master bus Bus, input channels,

group buses or sum of
stereo bus

Insert Jack, master output

balanced XLR and USB

connection

Insert Jack and master

output balanced XLR

VeniceU
Operator Manual

10 Chapter 1: Introduction

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 VeniceU. 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.

VeniceU mix matrix

About this manual

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

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.

VeniceU

Operator Manual

Service and support 11

• 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.

• 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 VeniceU32 (pictures shown throughout), the
information also applies to the U16 and U24 models unless stated otherwise.

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.

VeniceU
Operator Manual

12 Chapter 1: Introduction

Operator Manual

VeniceU

Chapter 2: Getting Started

This chapter shows you how to prepare the VeniceU 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

13

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.

VeniceU
Operator Manual

14 Chapter 2: Getting Started

2

3

1

1

3

2

1

2

123

13

Electric fields

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).

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 VeniceU.

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 = ground
2 = hot
3 = cold

1 = ground
2 = hot
3 = cold

1 = ground
2 = signal

1/4” TRS Jack plug
(inserts)

1/4” TRS Jack plug
(input, output)

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

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

VeniceU

Operator Manual

Connecting up 15

3

Female XLR

Male XLR

3

2

1

2

1

Sleeve

Ring

Tip

Male XLR

Tip

Sleeve

Ring

Female XLR

Input and output

sockets on rear of

external device

Rear of VeniceU console

1/4” TRS Jack

Screen

Send

Return

Send

Return

Tip

Sleeve

Ring

Sockets on

rear of

external

device

Rear of VeniceU 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 VeniceU 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

VeniceU
Operator Manual

Important:
If you have any audio problems, see Appendix E "Best Grounding Practice" on
page 97.

16 Chapter 2: Getting Started

4

1

3

2

2

1

3

123

Other connections

The section gives details of the other VeniceU interconnections.

Description Example of plug or

device

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

Female XLR chassis
connector (talk mic)

USB socket for type B
connector. (The
supplied USB lead is
terminated in a type B
connector and a type
A connector.)

Pinouts Example of socket

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

1 = ground
2 = hot
3 = cold

N/A

Important:
If you have any
audio problems
these may be due
to ground loops
(see Appendix
E "Best Grounding
Practice" on
page 97).

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.

Setting up

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

There is no initial setting up required for the VeniceU console. However, if you want to
use USB, you will need to set up your PC first (see Chapter 3 "Using The VeniceU With
USB" on page 19).

Operator Manual

VeniceU

Switching the VeniceU on/off 17

A

B

Switching the VeniceU on/off

Switch the VeniceU 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).

VeniceU
Operator Manual

18 Chapter 2: Getting Started

Operator Manual

VeniceU

Chapter 3: Using The VeniceU With
USB

This chapter shows you how to prepare your PC/Mac® for USB operation. The VeniceU
console has been tested and verified for USB use with the following computer operating
systems: a PC running Windows® 7 and a Mac running OS® X (version 10.7 or later).

However, we cannot guarantee correct USB operation on any other computer
operating system.

All of the files that you should need for USB operation on the VeniceU, such as, drivers,
recording templates, demos, etc., will be on the USB memory stick supplied with the
console. They should also be available for download from the www.midasconsoles.com
website.

For information on how to use USB with the ‘bundled’ recording software, refer to the
Software Application Guide (part number DOC04-VNUAPPLICATION).

19

Windows 7 operating system

This section shows how to install and set up USB on a PC running the Windows 7
operating system.

>> To install the USB device driver on your PC

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

Important:
Before installing the USB device driver from the VeniceU 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 USB operation properly with an older version of the device driver.

1 The USB device driver software is on

the VeniceU USB memory stick. Plug
the VeniceU USB memory stick into
your PC. (Depending on your PC’s
configuration, an AutoPlay window
may open. If so, select the Open
folder to view files option and then
click OK.)

2 On the USB memory stick, double-click the “setup.exe” file in the

VeniceU
Operator Manual

“Midas_VeniceU_USB_Drv_Vx_xx_x” folder (where “Vx_xx_x” is the USB driver
version) to start the setup wizard.

20 Chapter 3: Using The VeniceU With USB

3 In the User Account Control dialog

box, click Yes.

4 In the “Welcome ...” screen of the

Setup dialog box, click Next.

5 In the “Choose Install Location” screen

of the Setup dialog box, choose the
destination of the USB driver and click

Install.

The installation will begin.

6 During the installation procedure the

following dialog box will appear. Plug
the USB cable into the VeniceU console
(type B connector) and into your PC
(type A connector). Then switch on the
console and click OK in the dialog box.

Operator Manual

VeniceU

Windows 7 operating system 21

7 The installation procedure should

continue. After the installation has
been completed successfully, click

Next.

8 In the “Completing ...” screen of the

Setup dialog box, click Finish.

9 The Archwave icon should appear

in the task bar at the lower-right
corner of the screen.

Using the Archwave USB Driver Control Panel

In general, you should be able to use your recording software application on your PC
quite successfully using the default USB settings. However, you can change these
settings if desired (for example, if you have audio problems), which is done in the
Archwave USB Driver Control Panel window.

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

VeniceU
Operator Manual

22 Chapter 3: Using The VeniceU With USB

1 2

9

5 64

7

8

3

Archwave USB Driver Control Panel window

Item Element

1 File menu. Contains the Close and Quit commands. Selecting Close

hides the application in your desktop’s taskbar. Selecting Quit closes the
application.

2 Info menu. Contains the About Control Panel command, which opens

the About Control Panel dialog box that gives you information on the
application.

3 Panel associated with the selected option.

4 Minimise button. Hides the application in your desktop’s taskbar.

5 Maximise button. This has no function in this window.

6 Close button. Closes the application without saving any changes.

7 Menu bar.

8 Status bar. The left panel shows information on the currently selected

option, command, etc., and the right panel shows the number of connected
devices.

9 List of options.

>> To open the Archwave USB Driver Control Panel window

On your PC desktop, double-click the Archwave USB Driver
Control Panel icon.

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Operator Manual

Windows 7 operating system 23

2

4

1

3

Devices option

The Devices option lets you manage your audio system USB devices.

Item Element

1 List of connected devices, showing the device name and serial number of

each.

2 Up and Down buttons. These buttons change the position of a device in

the list of connected devices by moving it up/down one place at a time.

3 Edit Device Name button. Lets you change the name of a device.

4 Apply button. Applies any changes you have made in this window.

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24 Chapter 3: Using The VeniceU With USB

2

1

34

Input Channels option

The Input Channels option lists all of the input channels (also known as active input
channels) in your audio system.

Item Element

1 List of input channels.

2 Include device name in ASIO display name check box. When this

check box is selected, device names are included in the ASIO display
name column.

3 Edit Channel Name button. Lets you change the name of an input

channel.

4 Hardware name of selected channel field. Shows the default name of

the selected input channel.

Operator Manual

VeniceU

Windows 7 operating system 25

2

1

34

Output Channels option

The Output Channels option lists all of the output channels (also known as active
output channels) in your audio system.

Item Element

1 List of output channels.

2 Include device name in ASIO display name check box. When this

check box is selected, device names are included in the ASIO display
name column.

3 Edit Channel Name button. Lets you change the name of an output

channel.

4 Hardware name of selected channel field. Shows the default name of

the selected output channel.

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Operator Manual

26 Chapter 3: Using The VeniceU With USB

1

2

3

Synchronisation option

The Synchronisation option lets you choose the sample rate frequency and clock
source.

Item Element

1 Sampling Rate Selection Mode frame, lets you set the sampling rate

automatically or manually. Click the Automatic Mode option button to let
the system set the sampling rate or click the Manual Mode option button if
you want to set the sampling rate yourself. The Apply button stores any
changes.

2 Sampling Rate frame, lets you set the sampling rate (samples per second)

manually as 44.1kHz or 48.0kHz. The Apply button stores any changes
made. (This frame is not available in automatic mode of sample rate
selection.)

3 Clock Source frame, lets you choose the clock source as Internal Clock or

USB-Bus (SOF).

Operator Manual

VeniceU

Windows 7 operating system 27

1

2

3

Settings option

The Settings option lets you select the buffer sizes that your PC will use for your
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).

Item Element

1 Isochronous Streaming frame, lets you set the stream buffer depth in

the range 1.0 ms to 16.0 ms (default is 2.0 ms). The Apply button stores
any changes.

2 Audio Buffers frame, lets you set the buffer depths for the ASIO and WDM

audio device drivers. Both buffer depths can be set between 1.0 ms (88
samples) and 80.0 ms (3608 samples), and their default is 10.0 ms (528
samples). The Apply buttons store any changes made to their associated
parameter.

3 ASIO Statistics frame, displays the number of detected drop outs, that is,

intermittent drops in audio.

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28 Chapter 3: Using The VeniceU With USB

Streams option

The Streams option shows the audio and sync I/O connections for each connected
device.

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Mac operating system 29

1 2

Mac operating system

USB, when used with a Mac running OS® X (version 10.7 or later), is a ‘plug and play’
device. So, unlike on a PC running Windows® 7, there is no need to install a USB
device driver. Also, this Mac version has its own interface for using the supplied third
party recording software.

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

Configuring the supplied third party recording software

In general, you should be able to use your recording software application on your Mac
quite successfully using the default settings. However, you can change these settings if
desired (for example, if you have audio problems), which is done in the Preferences
command of the Reason menu.

Typical Mac desktop display showing with the recording software in use

Item Element

1 Reason menu. This is the supplied third party recording software.

2 Preferences command. This command opens an Audio??? panel

containing all controls, settings, etc., for configuring the audio recording.

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30 Chapter 3: Using The VeniceU With USB

The Audio option lets you configure your audio system USB devices. For full
information on this panel and all recording related information, refer to the Reason
Operator Manual.

Audio option window

>> To open the Audio option window

In the Reason menu, click the Preferences command.

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Updating the VeniceU firmware 31

Updating the VeniceU firmware

The latest version of the USB firmware for the VeniceU will be available on the Midas
website (address is on the front cover of this manual).

>> To update the VeniceU with the latest firmware

The following procedure is based on a PC running Windows® 7. However, the
procedure for updating the console’s firmware should be similar if you are using a Mac
running OS® X (version 10.7 or later).

1 If necessary, connect the USB cable to the PC and the console, and switch the

console on.

2 Download the latest VeniceU firmware

file from the Midas website onto your
PC or plug a USB memory stick loaded
with this file into your PC. If you see a
User Account Control dialog box,
click Yes.

3 Locate the VeniceU firmware file on

your PC and double-click it.

In this example the file is called
“MidasUpgradeTool x64” and is in the
“VeniceU/MidasVeniceU_UpgradeTools”
folder. The “x64” suffix means that the
file is for a 64-bit operating system. A
file without this suffix is for a 32-bit
operating system.

4 In the Midas VeniceU Upgrade dialog

box, click Update.

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32 Chapter 3: Using The VeniceU With USB

5 In the deviceUpgrade_64 dialog box,

click Yes.

The installation will begin.

6 If the upgrade was successful, you

should see the following Midas
Firmware Upgrade dialog box. Click
OK.

Troubleshooting USB operation

This section may help you overcome any problems that may arise when using USB with
your audio system.

Audio problems

If you encounter any problems with the audio, for example, when recording, try
changing the USB settings.

Avoiding drop outs

In general, the higher the driver settings for buffer depth are, the more reliable the
audio streaming will be, but the higher the audio latency will be. The latency is the time
delay between the audio signal entering your VeniceU and being available at your
computer (also the return path from your computer to the console). This will be
particularly noticeable when monitoring the output of real time effects in your digital
audio software.

There are a number of helpful websites available with hints and tips on how best to fine­tune a Windows machine for handling USB audio. These list various settings to change,
or activities to perform including: changing processor scheduling, deactivating unused
devices, disabling power saving modes and making sure the correct drivers are installed
for other components on your system such as graphics cards. Also avoid running other
processor hungry applications alongside your audio software.

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Troubleshooting USB operation 33

No devices found

If no devices appear in the driver control panel, it means that the PC/Mac cannot detect
a device. Do one of the following:

• Connect the VeniceU to your PC/Mac.

•If the VeniceU is already connected to your PC/Mac, check that the connections are
good.

Overcoming ground loop problems

See Appendix E "Best Grounding Practice" on page 97.

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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 37

• Chapter 6 "Multifunction Input Channel" on page 47

• Chapter 7 "Output Section" on page 57

Before using USB, read Chapter 3 “Using The VeniceU With USB”.

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 97.

35

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VeniceU

Chapter 5: Mono Input Channel

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

37

Mono input channels on the control surface (U32 shown)

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

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2

3

4

5

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 40)

2 EQ (see “EQ” on page 41)

3 Monitor and aux contributions (see “Monitors” on page 42

and “Auxes” on page 43)

4 Pan (see “Pan, mute and solo” on page 44)

5 100 mm fader and meter (see “Fader, routing and meter” on

page 45)

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Rear panel 39

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2

3

4

Rear panel

The VeniceU 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 14).

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2

34

5

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, routing and
meter” on page 45).

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 high 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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EQ 41

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5

EQ

Each mono input channel of the VeniceU 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 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.

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2

Item Description

4 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.

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 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 43). However, they have the following additional features:

• They can be sourced pre-EQ.

• They can be metered individually (see “Monitors” on page 67).

• They can receive a contribution from the stereo returns (see “Stereo returns” on
page 66).

• They have a latchable talk button (see “Talkback” on page 71).

Monitor section of the mono input channels

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.

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 67).

Either monitor send can be sourced pre-fader globally using the pre switch in the
output section (see “Monitors” on page 67).

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Auxes 43

Auxes

The VeniceU 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 68).

• 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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3

Pan, mute and solo

The VeniceU has pan, mute and solo per mono input channel.

Pan, mute and solo sections of the mono input channels

Item Description

1 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).

2 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.

3 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.

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Fader, routing and meter 45

1

2

3

4

5

Fader, routing and meter

The VeniceU is a flexible mixing console with four group buses, plus stereo and mono,
with a 100 mm fader and a four-LED signal meter per mono input channel.

Fader section of the mono input channels

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Operator Manual

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.

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.

3 Group switches Two latching switches route the channel to group 1 or 2,

or group 3 or 4. See “Routing” on page 46.

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

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

5 stereo switch This switch routes the channel signal to the stereo master

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

4 (infinity/o ff) to + 10d B. At 0dB the output of the channel to the

46 Chapter 5: Mono Input Channel

Meter

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).

• 12 (yellow): +12dB, high level.

• 0 (green): 0dB, normal level.

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

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

Routing

The signal can be routed to any of the four group buses using the group switches.

Group routing is post-EQ, post-mute, post-fader and 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 and 2 with pan hard left will result
in the signal being routed to group 1 only. Similarly, with pan hard right the signal will
be sent only to group 2.

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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47

Chapter 6: Multifunction Input Channel

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

Multifunction input channels on the control surface

All types of VeniceU have four multifunction input channels.

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48 Chapter 6: Multifunction Input Channel

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5

6

7

4

2

3

Overview of the multifunction input channel

The VeniceU multifunction channel (shown right) is equipped with an
XLR input, 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 Mic input gain (see “Gain (mic inputs)” on page 50).

2 USB (see “USB” on page 50).

3 Stereo line input gain (see “Stereo line inputs” on page 51).

4 EQ (see “EQ” on page 51).

5 Monitors and auxes (see “Monitors” on page 52 and “Auxes”

on page 52).

6 Balance, mute and solo (see “Balance, mute and solo” on

page 53 and “Fader, routing and meter” on page 54).

7 Fader, meter and groups (see “Fader, routing and meter” on

page 54).

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Rear panel 49

1

2

4

5

3

Rear panel

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

Multifunction input channel connectors

Item Description

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

and requires a conventionally-wired insert lead.

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

3 line in l (mono) Line in (stereo left or mono) on a single 1/4” TRS Jack

socket.

4 line in r Line in (stereo right) on a single 1/4” TRS Jack socket.

5 mic Mic input on a single, balanced XLR female chassis connector.

Note: The insert and direct out are sourced from the mic input only.

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50 Chapter 6: Multifunction Input Channel

Gain (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 40.

• 20dB pad switch On multifunction 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, routing and meter” on page 54).

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

• mic Ø switch On multifunction channels, this microphone phase switch causes a
180-degree phase change (with respect to the input signal), 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.

USB

Mic gain section of the multifunction input channels

The usb in switch in each multifunction input channel lets you select the channel input
source as USB (digital).

USB section of the multifunction input channels

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Stereo line inputs 51

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2

3

4

5

Stereo line inputs

The stereo line gain control knob adjusts level of the stereo line input signal, which is
continuously variable from
allowing low level line signals to be trimmed to obtain the optimal signal level.

Stereo line gain control of the multifunction input channels

4 (infinity/off) to +20dB with a centre detent at 0dB, thus

EQ

Each multifunction input channel of the VeniceU 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 multifunction input channels

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Operator Manual

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.

52 Chapter 6: Multifunction Input Channel

Item Description

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.

Monitors

The monitor sends of the multifunction input channels have similar functionality to
those of the mono input channels. For more information, see “Monitors” on page 42.

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 multifunction input channels

The aux sends of the multifunction input channels have similar functionality to those of
the mono input channels. For more information, see “Auxes” on page 43.

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 multifunction input channels

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Balance, mute and solo 53

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3

Balance, mute and solo

The VeniceU has balance, mute and solo on every multifunction input channel.

Balance, mute and solo sections of the multifunction input channels

Item Description

1 bal control knob This stereo line input 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. The fully left and fully right
positions are +3dB and the centre position is 0dB.

However, when using the mic input the balance controls acts as a pan. The
fully left and fully right positions are 0dB and the centre position is -3dB.

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

The mute LED illuminates to show when the MUTE switch is on.

3 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.

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54 Chapter 6: Multifunction Input Channel

2

1

4

5

3

Fader, routing and meter

The VeniceU fader section has the following functions.

Fader section of the multifunction input channels

Item Description

1 LED meter These LEDs comprise the multifunction 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 USB.

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

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.

3 Group switches Two latching switches route its channel signal to any of

the four groups. Group sends are post-EQ, post-mute, post-fader and
post-balance.

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

bus (post-EQ and post-fader).

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

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

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

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Fader, routing and meter 55

Meter

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)

• 12 (yellow): +12dB, high level

• 0 (green): 0dB, normal level

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

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Chapter 7: Output Section

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

57

Output section of the control surface

The output section comprises the following main areas:

• Group (see “Groups” on page 61)

• Matrix (see “Matrices” on page 64)

• Stereo return (see “Stereo returns” on page 66)

• Monitor (see “Monitors” on page 67)

• Aux (see “Auxes” on page 68)

• Mono master (see “Master outputs (mono and stereo)” on page 69)

• Stereo master (see “Master outputs (mono and stereo)” on page 69)

• Talkback (see “Talkback” on page 71)

• Playback (to masters) (see “Playback and recording” on page 72)

• Local monitor (see “Local monitor and phones” on page 73)

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58 Chapter 7: Output Section

Rear panel

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

Output connections on rear panel

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3

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11

10

9

6

Overview of the outputs section 59

Overview of the outputs section

The outputs section comprises
the following main areas.

Item Description

1 See “Matrices” on page 64.

2 See “Master outputs (mono and

stereo)” on page 69.

3 See “Talkback” on page 71.

4 See “Playback and recording” on

page 72.

5 See “Local monitor and phones”

on page 73.

6 See “Master outputs (mono and

stereo)” on page 69.

7 Master faders.

8 Four blue faders, which adjust to

their current assignment (for
example, groups).

9 See “Groups” on page 61.

10 See “Auxes” on page 68.

11 See “Monitors” on page 67.

12 See “Stereo returns” on page 66.

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60 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 VeniceU 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 VeniceU 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 VeniceU has been developed with real world sound engineers
in mind. The real flexibility of the VeniceU 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 VeniceU signal routing, see Appendix A "Functional
Block Diagrams" on page 75.

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Groups 61

1

2

5

6

7

8

9

1

2

3

4

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.

USB output is available for the groups by the overriding multifunction input channels.
For more information, see “USB” on page 62.

Each group output has fader level adjustment and metering.

Group output sections on the control surface

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62 Chapter 7: Output Section

Item Description

1 Meter LEDs These LEDs comprise the group meter, which lets you

monitor the input signal without having to use the PFL.

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

level from

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 usb c/o switch Activates the USB for the groups.

6 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).

7 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.

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

as on the mono input channels (see “Pan, mute and solo” on page 44).

9 aux c/o switch See “Group-aux changeover” on page 60.

4 (infinity/off) to +10dB.

USB

The usb section on the rear panel of the console lets you connect a PC.

USB section on the rear panel

On the control surface, a usb in switch in the multifunction input channels lets you
activate USB on those channels.

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USB 63

2

1

3

USB sections on the control surface

Item Description

1 usb in switch This latching switch inserts the USB return to the channel,

muting the mic and line inputs.

2 usb c/o This latching switch flips the aux USB output to group output.

3 override masters to usb with matrix switch This latching switch

overrides the stereo master USB output with the matrix 1-2 output.

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64 Chapter 7: Output Section

1

4

7

8

6

2

3

5

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

USB output is available for the matrix outputs by overriding the relevant multifunction
input channel 29-30. For more information, see “USB” on page 62.

The VeniceU 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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Matrices 65

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

4 (infinity/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 60). 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 override masters to usb with matrix This latching switch overrides the

stereo master USB output matrix 1-2 output.

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

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

4 (infinity/off) to +10dB.

from

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

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

8 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.

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66 Chapter 7: Output Section

1

2

5

4

6

2

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.

stereo returns section on the control surface

Item Description

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

line gain from

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 knobs Adjusts the contribution to the

monitor 1 and 2 buses (pre-fade or post-fade mono sum) from

4 (infinity/off) to +20dB.

4 (infinity/off) to +6dB.

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Monitors 67

1

2

4

3

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

Monitor channels (1 and 2)

Item Description

1 pre switch This is the bus master pre-fader switch.

2 monitor control knob This output level control gives continuous

adjustment of the monitor output signal from +10dB to

3 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.

4 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.

4 (infinity/off).

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68 Chapter 7: Output Section

1

2

3

4

5

Auxes

There are four independent aux outputs on the rear panel.

Four aux XLR outputs on the rear panel

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

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.

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 60

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.

4 (infinity/off) to +10dB.

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Master outputs (mono and stereo) 69

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

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.

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.

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

Master outputs on the rear panel

USB output is available for the left and right master channels by the overriding the
relevant multifunction input channel. There is no USB output for the mono channel.
For more information, see “USB” on page 62.

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

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70 Chapter 7: Output Section

5

7

6

3

12

4

Master outputs sections on the control surface

Item Description

1 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
post-fader, and post-insert points).

2 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).

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

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

4 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.

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

continuously variable from

6 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.

4 (infinity/off) to +10dB.

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Talkback 71

5

4

3

2

1

Talkback

The VeniceU provides a talkback mic that can be routed to a number of the console’s
outputs.

Talk mic section on the control surface

Item Description

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

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.

2 aux 1-4 switch This is a routing button that routes the talk bus signal to

all aux buses.

3 stereo master switch This is a routing button that routes the talk bus

signal to the stereo master buses.

4 mon 1-2 switch This is a routing button that routes the talk bus signal to

the monitor 1 or monitor 2 bus.

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

variable from +10dB to +60dB.

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72 Chapter 7: Output Section

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2

3

Playback and recording

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

Playback/record sockets on the rear panel

Playback

The two in (right and left) connectors let you connect an analogue device, such as an
MP3 device or tape recorder, to play back recorded audio material via the console.

Recording

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).

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.

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.

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

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Local monitor and phones 73

1

3

6

25

4

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.

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

4 (infinity/off) to +10dB.

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74 Chapter 7: Output Section

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 the VeniceUs

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Appendix A: Functional Block
Diagrams

This chapter contains the VeniceU signal path diagrams.

75

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76 Appendix A: Functional Block Diagrams

Mono input module

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Mono input module 77

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78 Appendix A: Functional Block Diagrams

Stereo input module

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Stereo input module 79

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80 Appendix A: Functional Block Diagrams

Master and monitor modules

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Master and monitor modules 81

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82 Appendix A: Functional Block Diagrams

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VeniceU

Appendix B: Technical Specification

This appendix provides the full technical specification for the VeniceU 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: VeniceU technical specifications

Item Details U16 U24 U32

Inputs (total)

Mono mic and line inputs
(with inserts)
Stereo inputs (line)
Stereo returns
Stereo playback input

Buses

Groups
Monitors
Auxes
Masters
Matrices
Solos

Outputs

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

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

Phono
Balanced 1/4” TRS Jack

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

26

12

8
4
2

18

4
2
4
3
2
3

4
2
4
2
3

2
12

2
2

34

20

8
4
2

18

4
2
4
3
2
3

4
2
4
2
3

2
20

2
2

42

28

8
4
2

18

4
2
4
3
2
3

4
2
4
2
3

2
28

2
2

83

Internal power supply

Type
Volta ge (VAC ±10%)
Frequency (Hz)
Consumption (W) at

5V

11

sumption (W) at

Con
230V

Additional features

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

Accessories

Dust cover Included Included Included

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Operator Manual

Switching
100 to 240
50 to 60
150W

150W

Switching
100 to 240
50 to 60
180W

180W

Switching
100 to 240
50 to 60
200W

200W

84 Appendix B: Technical Specification

Table 4: VeniceU 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 -80dB

CMR at 1kHz Mic (gain +40dB)

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

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)

USB digital audio Sampling frequency

Bit rate
Dynamic range (20Hz to
20kHz)

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

Typically 80dB
Typically 70dB
Typically 70dB
Typically -50dB
Typically 70dB

-128dBu

-128dBu

-125dBu

-125dBu

-97dBu

48kHz or 44.1kHz
24-bit only
A-D 109dB unweighted, 112dB
A weighted
D-A 107dB unweighted, 110dB
A weighted

System noise (20Hz to
20kHz)

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

Crosstalk at 1kHz Channel to channel

Output impedance All line outputs

Maximum output level Line outputs (into 600R)

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

Headphones

Headphones (into 50R)

-90dBu

-86dBu

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

50 ohms balanced source
To drive 32 ohms

+21dBu
+18dBu (750mW)

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Dimensions 85

Nominal signal level Mic

Line

Equaliser mono channel Tr e ble s h elf

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 Treb l e she l f

Hi mid bell

Lo mid bell

Bass shelf

High pass filter High pass slope

High pass filter

EQ Based on classic XL3 (undershoot curvatures and frequencies)

-60dBu to +10dBu
0dBu

15dB boost/cut
2kHz to 20kHz
15dB boost/cut
400Hz to 8kHz
Fixed at 1 Octave
Fixed at 1 Octave
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

12dB/Octave
80Hz

Dimensions

This section gives details of the external dimensions of the VeniceU series consoles.

Table 5: VeniceU technical specifications

Item U16 U24 U32

Size (mm/inch)

Width
Depth
Height (without feet)

Weight (kg/lb)
Net
Shipping

In the following diagrams dimensions are in millimetres, with the equivalent in inches
enclosed in brackets.

552/21.7
578/22.7
246/9.7

16.0/35.3

17.0/37.5

760/29.9
578/22.7
210/8.3

20.0/44.1

21.5/47.4

960/37.8
578/22.7
210/8.3

24.0/52.9

26.0/57.3

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86 Appendix B: Technical Specification

VeniceU16 = 552 (21.7”)
VeniceU24 = 760 (29.9”)
VeniceU32 = 960 (37.8”)

528 (20.8”)

263 (10.4”)

89 (3.5”)

20°

246 (9.7”)

578 (22.7”)

External dimensions of the U16, U24 and U32 consoles. Dimensions are in millimetres (inches).

Operator Manual

VeniceU

Appendix C: Application Notes

This appendix provides application notes as a guide to help you with VeniceU console
operation. With its flexible routing and functionality, the VeniceU 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 VeniceU has two types of input channel — mono and multifunction — 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).

87

• Stereo channel line gain — range is -

Each channel of the VeniceU 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 VeniceU 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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88 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 VeniceU 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!

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Unity Gain 89

Unity Gain

Unity gain is a gain of 1, that is, no gain or attenuation is applied to a signal.

If a signal entered a mono line level input of the VeniceU at 0dBu and the gain was set
to +10dB (an internal 10dB attenuation sets the net gain to 0dB), then the signal was
routed to each output at 0dB, the channel fader was set to 0dB and each output fader
was set to 0dB, the output should be 0dBu (or unity). Some console manufacturers
mark the 0dB level of their faders and pots ‘U’.

Simple. But that’s just one signal. If we have two 0dBu signals entering the VeniceU
(assuming they are coherent, that is, the same level and phase) to be summed in the
buses, the output would no longer be 0dBu.

Simply,

0dBu = 0.775 volts

0.775 volts + 0.775 volts = 1.55 volts

1.55 volts is 0.775 volts +6dB (or a gain of 2)

To retain an output of 0dBu (our previous unity level) each input must be reduced.

0.775 volts / 2 = 0.3875 volts

0.3875 volts is 0.775 volts -6dB (or a gain of 1/2)

So, each fader must be reduced to -6dB to retain the unity gain level of 0dBu on the
console output. When using four inputs at 0dBu, the faders must be reduced to -12dB.
Real life signals are not continuous, but the principle is the same. If you have a
sinusoidal input that is nominally 0dBu on all 32 inputs with the channel faders at 0dB,
the output is likely to be well above the 21dBu maximum output of the console and
leave no headroom spare. With real world signals, 32 channels summed together will
give around 6dB to 9dB gain because it is unlikely that all 32 channels will receive the
same signal at the same time. Instead, signals will occur at different times, and there
will be cancellation due to phase and frequency differences.

Signal Processing and Amplifiers

The final links in the system tend to be graphic equalisers, loudspeaker processors and
finally amplifiers and speakers.

Graphic equalisers have the same problems as the VeniceU’s EQ. If excessive boost is
applied to the signal, the graphic equaliser’s output may be overloaded. If the output
of the VeniceU is higher than the maximum input level of the graphic, the input of the
graphic may be overloaded.

Loudspeaker processors have similar problems. If the input level to the processor is too
high, the input may be overloaded and introduce distortion into the outputs (and to the
speakers!). In addition to this, any boost on the processor’s outputs (say you want 3dB
more bass) will cause that output to overload earlier (in this case 3dB before the other
outputs).

Finally, amplifiers can introduce the most interesting results.

An amplifier has a sensitivity. That is, an input signal level that causes the amplifier to
produce its maximum output level. For many amps this is 0dBu (0.775 volts RMS),
while others use 0dBV (1 volt RMS) and others use different levels. Beyond this
sensitivity, the amplifier’s output will not be able to produce any more power and ‘CLIP’
(usually indicated by some serious looking red lights). Sending +21dBu level from the
VeniceU will clip the output of most amplifiers causing damage to your loudspeaker
system.

VeniceU
Operator Manual

90 Appendix C: Application Notes

There are a number of solutions to this problem:

• Reduce the amplifier’s input attenuators to a level where the amplifier and

console clip at the same point.

For example, the input sensitivity is 0dBu, setting the input attenuator on the
amplifier to -21dB would mean that the console would clip at the same time as the
amplifier. So, operating the console sensibly the amplifier should never be clipped.
The console LED meters will also accurately show the available headroom left in the
entire system.

-21dB may not be a sensible level to set as many operators choose not to run the
output of the console so high. That is personal choice.

• Run the output of the console at a level below 0dBu.

This solution means that you won’t get full benefit of the console, and may suffer a
reduced signal to noise ratio, especially when running over long signal cables. But
the amplifiers should be saved from clipping.

As with many things in the audio world, use your ears. If something sounds distorted,
do the following:

Problem Action

Routing

FOH mode

Input gain is too high Lower input gain

EQ has too much boost Disable EQ

EQ has too much cut and has a high
input gain

There is too high a level entering the
inserted processor

The loudspeaker controller or amplifiers
are clipping

The flexible routing of the VeniceU allows the console to operate as both a FOH and
monitor console, or as a combination of both. For operators that haven’t got a great
deal of experience, here are a few helpful guidelines.

The group-aux changeover switch on each group (see “Group-aux changeover” on
page 60) should be released (in the off position) so that the group fader controls the
group bus signal.

Uses for groups vary, but include:

• Submixes Submixes are a common way of saving time (and possibly
embarrassment) when using a large number of microphones at once. For example,
multiple microphones for choirs, drum kits/percussion, orchestras, etc.

The channel to be submixed should be routed to the group and any aux sends ONLY
(that is, not to the master L-M-R). The fader is, as normal, used to set the relative
level between the channels in the submix. The group chosen for the submix should
then be routed to the master L-M-R and panned as required.

Disable EQ

Disable insert

Check clipping indicators on amplifiers,
etc.

Operator Manual

VeniceU