Pro Audio Systems

• Technical Specifications

• Inputs (total) 30
• Mono-Inputs (Mic/Line) with Inserts 8
• Stereo-Line/Mono-Mic-Input Channels 4/4
• Stereo-Effect-Returns (Line) 4
• Stereo-Tape-Return (Line) 1 left/right
• Busses 15
• Subgroups 4
• Aux Pre-Fader (Monitor) 2
• Aux Post-Fader (Effects) 2
• Aux switchable Pre/Post-Fader 2
• Master L/R 2
• Mono-PFL 1
• Stereo-AFL 2
• Outputs
• Subgroups (with Inserts) 4 impedanced balanced 1/4 inch jacks
• Aux Pre-Fader (Monitor) 2 XLR (balanced)
• Aux Post-Fader (Effects) 2 impedanced balanced 1/4 inch jacks
• Aux switchable Pre/Post-Fader 2 XLR (balanced)
• Master (with Inserts) 2 XLR (balanced)
• Master B Out 2 XLR (balanced)
• (switchable Mono/Stereo, pre-post Fader)
• Tape Send (Recording) 1 Stereo (Phono)
• Direct Outputs (1/4 inch Jack) 8
• Stereo-Headphones 2 Stereo-1/4 inch jack
• Stereo-Speakers 2 impedanced balanced 1/4 inch jacks
• Additional Features
• Connector for desk lamps 2 x 12V/5W (4-Pin XLR)
• 19“-rack-mounting- kit, yes - -
• rotatable connector panel yes -
• Input Impedance
• Mic 2kŮ Balanced
• Line 20kŮ Balanced
• Input Gain
• Mic Continuously variable 0dB to +60dB
• Line (Mono Channell) Continuously variable -20dB to +40dB
• Line (Stereo Channel) Continuously variable -10dB to +20dB
• Line Level Inputs 0 dB
• Maximum Input Level
• Microphone and Line +22dBu
• Line Mono Channel +42dBu
• Line Stereo Channel +28dBu
• CMR at 1kHz
• Mic (Gain +40dB) > 85dB
• Line > 45dB
• CMR at 100Hz
• Mic (Gain +40dB) 75dB typical
• Frequency Response (20Hz-20kHz)
• Mic to Mix (Gain +60dB) + 0dB to -1dB
• Noise (20Hz-20kHz)
• Mic EIN ref. 150Ů gain +60dB -129dBu
• Mic EIN ref. 150Ů gain 0dB -107dBu
• System Noise (20Hz-20kHz)
• Summing Noise (16channels routed, faders down) -90dBu
• Line to Mix Noise (16 channels routed at 0dB) -84dBu
• Distortion at 1kHz
• Mic to Insert (+30dB Gain. +20dBu Output) Typ 0.0007%
• Mic to Master (+30dB Gain, +20dBu Output) < 0.009%
• Crosstalk at 1kHz
• Channel to Channel < -80dB
• Mix to Mix < -80dB
• Channel to Mix < -80dB
• Fader Attenuation > 100dB
• Switch Rejection > 100dB
• Output Impedance
• Line Outputs 75Ů balanced
• Headphones to drive 32Ů
• Maximum Output Level
• Master Outputs +25dBu
• Line Outputs +22dBu
• Headphones +22dBu / 600Ů
• Nominal Signal Level
• Microphone - 60dBu to 0dBu
• Line 0dBu
• Equalizer Mono Channel
• Hi Pass Filter 2nd order Butterworth, 80Hz
• Treble +/-15dB at 12kHz (Shelv)
• Hi Mid Continuously variable 400Hz to 8kHz (1 Oct) +/-15dB
• Lo Mid Continuously variable 100Hz to 2kHz (1 Oct) +/-15dB
• Bass + /-15dB at 80Hz (Shelv)
• Equalizer Stereo Channel
• Treble +/-15dB at 12kHz (Shelv)
• Hi Mid 3kHz (1,4 Oct) +/-15dB
• Lo Mid 300Hz (1,4 Oct) +/-15dB
• Bass +/-15dB at 80Hz (Shelv)

• Features

• Frequency response and distortion (a 'hot' issue) - To retain the natural qualities of many different sorts of input signals, a console must be able to handle incoming signals across a very wide frequency range with lowest possible distortion. The maximum input capability of Venice is +22dBu, enabling the console to deal with even the hottest line signals within a 15Hz- to 100kHz- frequency range. High-value EMI suppression filters shelter the signal-path from unwanted external noise, one of the fundamental Midas design specialities.
  
• Venice EQ Pure Performance - Leading audio professionals all over the world confirm: it's not the number of pots that make an EQ section, it's the audible result, the ability to accurately control and fine tune audio signals in the most musical way possible. Great EQ also provides the creative processing power to create personalized soundscapes without any unwanted side-effects. For instance, this means that the HF and LF filters won't interfere with the mid-band frequencies: All filters keep their gain regardless of frequency settings, and +/-15dB on a gain potentiometer means exactly what it says. The Venice EQ is what thousands of Midas owners and users expect from our products: pure performance.
  
• Highest Quality Components - The world-class audio performance expected of a Midas can only be achieved by using first-class components with minimized tolerances. There´s no other way to do it: The operational benefit is that two identical signals will sound equal regardless of which channel they are fed into.
  
• Midas Venice -first-class electromechanical parts throughout: Pots, knobs, switches, connectors and faders. These components work hard throughout the long life of the console, and are constantly exposed to heat, moisture, cold, dust and heavy mechanical usage. Venice uses only pots and faders with metal shafts from ALPS and connectors from NEUTRIK, ensuring low maintenance and first class reliability.
  
• Clear and Straightforward Layout - All console manufacturers have their own philosophy of control surface design and layout. While Venice can certainly be used for recording, Midas's "dedicated to live production" approach means the design layout of Venice is optimized for quick and easy control. Every function is exactly placed where it should be, easy to find, operate and read even at low light levels (though connectors for two desk lamps are fitted as standard). Venice provides the right feature set for all live applications: very clear and straightforward, and easy to reach despite the high density of controls.
  
• Gain Structure and Output signals - All controls on Venice that affect actual output levels feature a center position at 0dB with range from minus infinity to plus 10dB (enough to make any output signal more than twice as loud than at the 0dB position). This allows the user to see at a glance whether a signal is really boosted or just adjusted to the overall mix. Additionally, all outputs that would typically be linked to loudspeakers via amplifiers are fitted with electronically balanced XLR connectors, protected by relays. This provides ultimate protection for the loudspeakers should the Venice be accidentally switched off during use.

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