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产品展示首页 > 产品展示 > 》调音台系列 > MIDAS > PRO Series Live Audio System








产品介绍 PRO1是MIDAS数字调音台的最新之作,采用最新设计的轻型铝合金框架,是MIDAS的第一款“单机操作”数字调音台,并且为“紧凑型”数字调音台树立了便携与性能相融合的新标准。
熟悉MIDAS数字调音台的音响师可以直接加载之前的show文件到PRO1 - 无需理会这些show文件是哪个型号的MIDAS数字调音台创建的,即刻投入工作中。
PRO1除了40个可控全处理输入通道,还有8个辅助返回通道,都带有4段MIDAS参量EQ和插入点。这8个辅助返回通道可以用于PRO1的内部效果器返回,或作为话筒输入通道 - 如果系统网络内有足够的I/O硬件的话。
总数为48的输入通道可路由分配至27个混音输出母线。这些混音母线包含16个用户自定义的辅助(aux)母线 - mix(辅助输出)、group(编组输出)或mix minus,8个matrix(矩阵)母线。矩阵母线直接源于输入通道或编组,并且能变身为额外的8个辅助母线(返送混音母线和效果发送),由此用作返送调音台时,总共提供24个混音母线(外加L,R,Mono主输出)。除了Mono外的全部母线都可以立体声连接。
如同MIDAS的其它数字调音台一样,内部音频接线能够路由至多个音频接口终点,并且内部音频接线的配置可以是基于场景(scene)的。 产品特性 在音频网络内,100输入 x 102输出(最大容量)任意的直接点对点路由
• 24 Mic/Line输入,MIDAS话放

• 40可控全处理输入通道,8辅助返回通道

• 24模拟输出(包含本地两组立体声监听输出)

• 3(立体声对)AES3输出

• 2(立体声对)AES3输入

• 27母线,采样率同步,相位一致

• 6台多通道效果器


• 15”强光型高亮液晶显示屏

• 8 VCA

• 6 POP编组

• 96k,40bit浮点处理


PRO1 Overview
The PRO1 breaks new ground for MIDAS digital consoles, featuring an all-new, lightweight aluminium frame and field-replaceable power supply. PRO1 is the first stand-alone MIDAS digital console and sets new standards of portability and performance for a compact digital console. 

PRO1 is easy to configure and operate. Engineers who are new to MIDAS digital can relax, enjoy the PRO1’s sample-synchronous audio quality, and mix from well within their comfort zone. Engineers already familiar with MIDAS can just load their existing show file straight into the PRO1, regardless of which MIDAS digital console it was created on, and carry on working.

PRO1 is a standalone mixing system, having 24 MIDAS mic inputs on the rear of the frame. The 3 AES50 ports can be used to increase the mic input count up to 96 by connecting additional hardware.

In addition to the PRO1’s 40 primary input channels, PRO1 also features 8 aux returns, all of which feature 4-band MIDAS parametric EQ and insert points. These 8 aux returns can be used as returns for the PRO1’s internal FX processors, or as additional mic channels, if sufficient mic inputs are available on the I/O hardware. 

A total of 48 input channels have free routing to 27 phase-coherent mix buses, which comprise 16 user-configurable buses (mixes, subgroups or mix minus groups), and 8 matrix buses. The matrix buses source from inputs, as well as groups, and so can be used as 8 additional aux mixes (monitor mix and FX sends) which provides a total of 24 mixes (plus L, R & Mono) for monitor mixing duties. All buses can be linked as stereo pairs (except the mono bus). 

As with all MIDAS digital consoles, the audio paths can be routed to multiple destinations and the console format can be reconfigured live on a scene-by-scene basis.

• 3 x 96 kHz AES50 ports, providing an additional 72 inputs and 72 outputs
• 24 integral mic/line inputs with MIDAS mic preamps
• 48 simultaneous input processing channels
• 24 analogue outputs (including 2 stereo local monitor outputs)
• 3 AES3 outputs
• 2 AES3 inputs
• 27 sample-synchronous, phase-coherent mix busses
• Up to 12 multichannel FX engines
• Up to 28 KLARK TEKNIK DN370 31-band Graphic EQs
• Full-colour 15" daylight-viewable display screen with DVI out
• 8 VCA (Variable Control Association) groups
• 6 POPulation groups
• 96 kHz 40-bit floating-point processing throughout
• Field-replaceable power supply

 MIDAS Audio Quality

The MIDAS reputation for fantastic audio quality has evolved over 40 years of development and research.

By continuing to design the world's best live sound mic preamps through use of superior components, MIDAS has carried this tradition into the digital realm. Adding the best converters and custom processing algorithms to the mix, MIDAS takes audio quality to another level.

A major problem affecting many digital consoles is a lack of attention to delay management. All digital processing takes time to run.

Mix engineers working on analogue consoles routinely combine signals with different signal paths and processing, and expect to do the same with digital mixers. On most current digital consoles, combining signals in this way leads to the summing of signals that are partly out of phase. MIDAS digital systems are the only live sound systems in the world to have a comprehensive and automatic latency management system. Which, in addition to managing all internal routing and processing latency, also includes compensation for additional A/D & D/A conversions required when connecting external analogue inserts. This means that all audio samples are synchronised before summing, resulting in absolute phase coherency at all outputs.

MIDAS digital consoles feel, as well as sound superb. All the variable controls on the console are genuine analogue high-precision potentiometers, not mechanical encoders. These access the processing algorithms through precision instrumentation A/D converters, and MIDAS I/O and DSP units can be freely distributed into multiple locations. In particular, I/O units can be placed exactly where they are needed.

Every transition of a network adds delay. MIDAS AES50 networks have only 70 microseconds of latency per hop, so even a multi-hop routing has negligible aggregate delay (latency), making it perfect for in-ear monitoring. All inputs and all outputs are time-aligned to sample accuracy, no matter where they are in the network or how they are routed. This is another major contributor to the performance of a MIDAS digital console and that magical MIDAS sound.

Over 40 years of audio mixing console development and research
Comprehensive and automatic latency management system including compensation for external analogue inserts
MIDAS custom interpolation algorithms
Comprehensive automatic time alignment
KLARK TEKNIK's SuperMAC implementation of AES50 for incredibly low 70 microseconds of latency per link
Display screen
The high-resolution screen remains visible even in direct sunlight. In this aspect, the MIDAS’ visual support is exceptional, as most conventional consoles become difficult, or impossible to operate in high ambient lighting.
The screen provides visual feedback for the entire system. Pressing the HOME key (just to the left of the assignable controls) instantly displays the console overview screen, which keeps all vital information (all metering, all fader positions, mutes and solos) in view at all times.
Detail panel area
The detail panel is a vertically oriented channel strip, with an almost identical layout to the PRO2, 3, 6 and 9. The controls are configured in a logical, signal-path sequence and are easily identified by their relative positions. Both analogue users and digital adopters will find no difficulty using the large multi-colour LCD channel select buttons for navigating the console.
Mic Pres
The MIDAS microphone preamp is the one by which all others are judged. Still built from discrete components, and still based on the designs which were so successful in the legendary MIDAS analogue consoles such as the XL3, XL4 and Heritage, the current expressions in the XL8 sound better than ever.

Whether you want pristine, transparent reproduction, or that renowned MIDAS warmth and colouration, MIDAS’ dual (analogue and digital) gain stages enable you to shape the mic preamp's character according to your own preference. All MIDAS digital consoles feature two input gains per channel. First is the remote analogue gain for that wonderful MIDAS mic preamp, and the second is a digital trim. Set the analogue gain for the desired amount (if any) of that famous MIDAS “warmth”, then use the digital trim to achieve your preferred gain structure.

Unique MIDAS sound
Based on MIDAS’ legendary analogue mic preamps – XL4, XL3 and Heritage Series
Both analogue and digital gains
 VCA and POPulation
With the advent of digital technology, channel counts and processing features have grown to a point where it is no longer practical to have all controls physically available at the same time. Additionally, the logistical advantages of smaller control surfaces are becoming increasingly attractive. MIDAS’ unique approach to solving this problem is to mirror the natural work flow used by mix engineers and to provide control and supporting feedback of system status at all levels, from the highest overview to the finest detail. This encourages the development of a mental picture, or “Mind Map”, of the whole system, even though focus may only be required on limited, specific functions.

For example, channels by default are not layered but scrolled. By being scrolled, the console displays act as a window onto the available channels in the system and allow you to think of the channels in a simple linear progression, rather than forcing you to remember which layer contains the channels. This scrolled format brings the console to you, rather than forcing you to search for specific elements. 

But this is only the beginning. 

At the heart of MIDAS console navigation are the VCA and POPulation groups, which provide primary access to multiple channels (typically grouped into related clusters by mix engineers). To access all the channels belonging to any of the VCA or POP groups, merely press the select switch. Selecting a VCA or POP group will bring all of the members of that group to the designated area of the control surface, populating from the VCA area outwards. If the group has more members than visible channels, the group can be viewed by scrolling the input bay. This work flow is applied to every area of the console, ensuring consistent ease-of-use and appropriately fast access to all controls.

To help further improve the “Mind Map”, live sound engineers have typically used colour when navigating mixing consoles by applying different-coloured adhesive tape and swapping coloured fader knobs to help make console navigation faster and more intuitive. MIDAS have taken this established principle of channel recognition and applied it to VCA and POPulation groups with assignable colour coding and digital write-on buttons. 

VCA and POPulation groups both have assignable colour coding and digital write-on buttons
VCA Groups allow access to all the channel faders belonging to any of the VCA groups at the press of a switch
POP (POPulation) groups can contain any combination of channels that you want to access instantly at the press of a switch
VCA and POP Groups encourage the development of a mental picture, or “Mind Map”, of the whole system
Selecting a VCA or POP group will bring all of the members of that group to you, rather than you having to go looking for them
Input channels can be viewed either by scrolling the input faders or by pressing the EXTEND button, which will populate the VCA faders with additional members of that POP group
MIDAS digital EQ features fully-interpolated controls, which recreate the original phase shift as experienced when working on the world's best-loved analogue consoles. 

Each input channel has 4-band parametric EQ, with a choice of 4 different filter types for both the high and low filters. These powerful EQ options enable the user to employ EQ filters which emulate the sound of historic MIDAS consoles or to choose advanced digital filter types, freed of the limitations of analogue circuitry.

Fully interpolated controls
4-band parametric EQ
4 different filter types
MIDAS PRO1 Dynamics Processing
Dynamics Processing
The dynamics processing on the PRO1's input channels is identical to the much-acclaimed MIDAS XL8. Each input channel features a frequency-conscious gate and a choice of 4 different compressor algorithms. Further creative expression are available, as all 4 compressor algorithms feature variable knee, internal and external side-chain filtering, and colouration artefact options.

Output (bus) compression offers a choice of 5 different options. These 5 compression algorithms are designed to provide the engineer with a broad pallet of options for maximum creative potential, right down to the visual display on the screen changing to support the different styles. More dynamics processing options are available in the PRO1’s FX rack, including multi-band compression and dynamic equalisation.

XL8 dynamics processing
4 different input compressor algorithms
5 different output compressor algorithms
A wide choice of dynamics processing
The cutting-edge 40-bit floating-point DSP processing hosts a wide choice of virtual FX devices, which range from dual-stereo delay units, stereo modulation and many diverse reverb FX, to multiband compression, dynamic EQ and multichannel dual-function dynamics processing.

All FX processors are custom-designed to function within the MIDAS automatic latency compensation system. This ensures a phase-coherent, sample-accurate mix regardless of whether the FX devices are used as channel inserts or on a send-and-return basis.

In addition, delay FX can be individually configured to synchronise to the XL8 button. This synchronization makes on-the-fly changes to delay effects simple and painless.

40-bit floating-point audio processing
Custom-designed FX processors
Internal FX processors operate within MIDAS’ automatic latency compensation
MIDAS PRO1 Surround Sound
Surround Sound
In addition to normal stereo and SIS (Spatial Image System) operation, the console can operate in one of three surround sound modes:
Quad 4-Channel – L-R front plus L-R rear
LCRS 4-Channel – L-R-C plus single rear channel
Quad 6-Channel – L-R-C plus sub plus L-R rear
All three surround modes feature a divergence control to tailor the depth of the surround panning. Dynamic surround panning can be implemented using the consoles trackball, or the USB pointing device of your choice.
MIDAS PRO1 Navigation Mode
Navigation Mode
There are 4 modes of channel and mix bay navigation: FLIP Navigation, FX Navigation, GEQ Navigation, and MCA Navigation. These 4 options allow an engineer to easily and efficiently mix a large number of inputs on a compact control surface.

FLIP Navigation

When in FLIP navigation mode, and the FLIP button is engaged, selecting an output flips the input faders to become the input channel send levels to the selected output. The console will only populate with the input channels that are assigned to the selected output.

FX Navigation

When the FX navigation button is engaged, selecting an output which is patched to an internal FX processor, this mode will deploy that FX processor on the display screen and map the ASSIGNABLE CONTROLS to the FX processor. If FADER FLIP is also engaged, the input channel faders will become the contributions to the FX processor. If COLLAPSED FLIP is selected, the operator will only be presented with input channels that are sending to that FX processor.

GEQ Navigation

When the GEQ navigation button is engaged, selecting an output which has a GEQ assigned, this mode will present the GEQ on the VCA faders. Scrolling the VCA faders left and right will provide access to all 31 GEQ faders. If FADER FLIP is also engaged, the input channel faders will become the contributions to the selected mix. If COLLAPSED FLIP is selected, the operator will only be presented with input channels which are sending to that mix.

MCA Navigation

If the MCA navigation button is engaged, when an output (mix) is selected, the MCA faders for that output will be deployed on the VCA fader bank. When in Advanced navigation mode and MCA navigation is engaged, the MCA faders control the contributions of their members only to the currently selected bus. This is a unique and powerful mixing tool, which puts MIDAS in a class of its own for innovation and usability.

Total Flexibility

This navigation flexibility makes working with the console as simple as requirements dictate, or as deep and complex as a user desires. To further illustrate the concept, think of multilayered 3-D VCAs, or a mixing console with a bank of VCAs for each input! Both are valid starting points.

This workflow approach applies to every area of the control surface, ensuring ease of use and appropriately-fast access to all controls.
MIDAS PRO1 Automation
One of the most critical requirements for theatre applications is the power and flexibility of console automation. The MIDAS PRO1 has taken into consideration these very specific requirements, and features the same automation software as the XL8, which is itself no stranger to Broadway! 

The PRO1’s automation system can store and recall up to 1000 snapshot scenes. These contain the audio parameter values for every control on the console as well as the network routing, configuration of the FX rack, and the format of the mixer itself, all of which is scene-specific. 

Hardware automation “safe” buttons are provided to enable the operator to quickly isolate selected processing areas from recall should this be required during a performance. In addition to these isolation functions, the store and recall of scenes can be “scoped” such that only the areas that the operator wants to store or recall are affected (all other controls remaining in their current state). 

Channel settings can be edited in advance of recall – across all scenes – from the SHOW EDITOR screen, and scenes can be re-ordered, inserted and deleted, simply and quickly, without overwriting their designation. Scenes can be recalled instantaneously, with no discernible drop in audio, or via complex crossfade options, including programmable surround-sound panning events.

MIDI input and outputs are provided, for control of external MIDI devices, or for recalling console events from an external MIDI source. All software versions, including stored shows on a USB stick, are both forward and backward compatible, i.e. a show created on one PRO1 can be loaded into another MIDAS console regardless of the software version on either system. PRO1 show files are also compatible with all other MIDAS digital console systems.

1000 snapshot scenes
Scene-specific routing
Scene store and recall can be ''scoped''
MIDI inputs and outputs provided
Software versions forward and back ward compatible
Show files compatible with any MIDAS digital console
MIDAS PRO1 Patching
The PRO1 employs technology developed from the class-leading XL8 console and offers the same exemplary sample-synchronised audio performance.

PRO1 has up to 100 inputs x 102 outputs, with point-to-point routing anywhere within the network which can then be patched and routed on a scene-by-scene basis via a powerful snapshot automation system.

100 inputs x 102 outputs (max. capacity), point-to-point routing anywhere within the network
24 mic / line inputs with MIDAS mic preamps
Up to 48 simultaneous-input processing channels
24 analogue outputs (including 2 stereo local monitor outputs)
3 AES3 outputs
2 AES3 inputs
27 sample-synchronous, phase-coherent mix buses
MIDAS PRO1 Third Party System Integration
Third Party System Integration
The MIDAS XL8 range and PRO Series systems incorporate several special features to aid real-world integration with other important sub-systems.
The MIDAS HyperMAC digital snakes, both Cat 5e and fibre optic versions, feature additional bandwidth for third party data transfer. Protocols supported include standard Ethernet traffic, MIDI messages and GPIO (General Purpose Input and Output signalling). This third party support offers great advantages because it avoids extra cables, extends the range of MIDI a long way beyond normal limits and provides an Ethernet tunnel between the stage and the mix position.
The Ethernet tunnel provides a 10 Mbit/sec standard Ethernet connection from an etherCON RJ-45 connector on the control surface to a similar connector on the stage router unit (DL461 for the XL8, DL371 for the PRO3, 6 and 9) for use by third parties. Applications include carrying control signals from any network-equipped computer at FoH to a radio mic receiver rack on stage and similarly, control signals from a computer to a system controller on stage. External standard Ethernet network hubs can be used to connect many different systems together via the MIDAS HyperMAC snake, which also provides redundancy in case of cable damage.
MIDI messages and GPIO (contact closure) signals can be sent and received by the MIDAS Console Automation System to local I/O at the console position and remotely to MIDAS I/O devices which can be 500m away.
The XL8, PRO3, 6 and 9 control surfaces incorporate a KVM switch (Keyboard – Video – Mouse). This switch allows one screen on the control surface plus the keyboard and trackball to be switched to one of three external computer connectors. This is a great way of reducing “clutter” at the control surface position. A control surface screen, keyboard and trackball can be used to control up to three other systems where the computers are placed out of harm’s way. These external systems, such as ProTools*, Waves* Multi-Rack, Shure* UHF-R radio mics and Dolby Lake* System Controllers, then appear on a MIDAS control surface screen and are controlled by the surface keyboard and trackball.
* All trademarks acknowledged.
This video covers use of third-party plugins on MIDAS digital audio consoles.
Weights and Measurements
PRO1 is built around a road rugged lightweight aluminium frame:
Width 685.2 mm x Depth 722.1 mm (27” x 48.4”)
Weight: 21.5 kg (47.5 lbs)*
*weights are approximate and do not include packaging or flight case
MIDAS digital systems provide a choice of Input/Output (I/O) options – from the fixed configuration DL251 stage box, to the highly acclaimed DL431 24 channel 5-way mic splitter. This allows users to optimise the system, depending on the application and requirements of their specific audio network.

With an audio system that is so incredibly flexible it allows the I/O units to be freely distributed into multiple locations. In other words the units can be placed exactly where they are needed – on the stage, around the auditorium, at FoH or remotely in a broadcast truck. Once the I/O units are in the desired locations the audio network can then be easily configurable to route signals from where and by when they are needed since the patching is done a scene-by-scene basis. Once the I/O units are in the desired locations, the audio network can then be easily configured to route signals, since as patching is done a scene-by-scene basis.

For the user-configurable I/O units and local I/O on the rear of the PRO3, PRO6 and PRO9, there is a choice of different I/O cards. Options include a TRS jacket card and a D-sub card.
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