MIDAS Audio XL8 TP-DL461-DL451 Mixing Console Package Used, Second hand

1pc   XL8 TP digital mixer with DSP and router
2pcs DL431 Active Microphone Splitter
2pcs DL451 modular stage boxes
2pcs RJ-45 100m cables
The Package is cased.

Photos on request.

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20,720.00 €

20,720.00 € per Set


About this product


XL8 Live Performance System

The XL8 live performance system is truly revolutionary and heralds Midas’ entry into the digital mixing realm. However, this is not merely another digital mixing console. XL8 offers an incomparable design combining exemplary sound quality, flexibility and reliability with an ease and familiarity of use unrivalled by other digital control surfaces. XL8 is the first of a new generation of openarchitecture, cross-platform, integrated audio control and distribution systems, which brings control of not only audio, but other aspects of a live performance to a single, intuitive control centre.
As well as offering classic Midas audio quality and superb reliability, XL8 actually improves upon the performance of the analogue consoles, which have established Midas as the number one choice of sound engineers the world over. XL8 represents a new generation of networked systems, requiring only mics, amps and speakers to provide a complete audio system.
The XL8’s open architecture ensures that both third-party hardware and software, including “plug-ins” can be easily integrated into the system. The very latest in highspeed networking technology ensures that XL8 will conform to all the classic Midas brand values of sound quality, reliability and longevity, it will not be obsolete in a few years.

Live Performance System Features
  • Failure-tolerant of any single failure of hardware or software
  • Proven, stable, Linux operating system
  • Dual redundant master control processors
  • Five individual bay control processors
  • 24/7 global telephone support
  • Midas customer service and support centres in Minneapolis (USA), Kidderminster (UK), Hong Kong, Japan and Singapore
  • Three year factory warranty
  • Rugged design, tolerant of physical abuse!
XL8 Control Centre

As can be expected from the design team at Midas, the XL8 has been painstakingly designed to address the way in which sound engineers approach the task of mixing. The control centre can be operated from scratch quickly and easily – even by engineers new to digital control surfaces.
XL8 has been designed so the engineer does not have to think in terms of numbers, pages or layers. Users navigate the system and identify channels by colours and groupings, which they themselves create. This method allows an individualised approach to mixing, rather than working within hardware-dictated numerical limitations. This reassuringly familiar way of working is central to the XL8 and ensures that engineers do not have to change their way of thinking to feel comfortable with the new system.
Each of the five bays of the console is a discrete hardware module, which is independent of its neighbour and incorporates its own power supply, surface processor, GUI processor and screen. The only common connection is via a single Ethernet link to the network.
The standard 5-bay control surface comprises a total of five of the following three modules: 

  • 3 x Input module
  • 1 x Mix module
  • 1 x Output module.

In addition to placing engineers in a familiar comfort zone, which allows them to get on with the job of making great audio without worrying about the rigours of new technology, the XL8 also comes complete with a range of features unique in the world of live mixing.

Control Centre Features
  • Dedicated motor faders on outputs
  • Paged controls do not change function (e.g. a gain knob is always a gain knob – never a frequency knob!)
  • Silky smooth, high accuracy rotary controls
  • Dedicated discrete hardware remote control for onboard Graphic EQs with the Klark Teknik Rapide
  • Modular control surface with multiple input areas - easily accommodates multiple operators
  • Two routers in the control centre in addition to the two DL461 Audio System Signal Routers
  • Daylight visible DVI TFT display screens
  • Three way KVM (keyboard, video, mouse) remote control of any ‘Mac ‘ or ‘PC’ from the control centre
  • White LED lighting of the control centre surface
  • 63 discrete 20-segment LED meters
  • Discrete LED meters for dynamics and direct outs
  • “All the meters all the time” master status screen
  • Simple, visible hardware routing to master outputs

Used MIDAS Audio

Midas has been designing and manufacturing live performance mixing consoles for the worlds most demanding sound engineers, performers and production rental companies since the early 1970s.
The evolution of Midas consoles throughout the 30-year history of this classic marque has always paralleled, and often led, increasingly sophisticated audio innovations for the world-wide entertainment technology industry. Raising the standards of sonic quality through continual research and development has always been - and still remains - our overall aim.
Equally important to us is the design and implementation of many new areas of control functionality and user-friendly desk operation to anticipate and accommodate the rapidly changing and expanding needs of audio professionals who specify Midas consoles for their major tours, festivals, international events, broadcast projects and prestigious fixed installations.
The Midas design pedigree has, since our birth, been founded upon a track record of achieving a unique symbiosis with working sound engineers around the planet - engineers who respect and endorse our proven technology in the light of their responsibilities to their internationally-based clients who are themselves the leading lights of our industry.

Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both. Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it's in phase with the input and negative when it's out of phase. Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details). Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level. Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.Gain: Increase in level or amplitude.Gooseneck: This refers to amicrophone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies; lowering sliders cuts (attenuates) the affected frequencies.High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.KHz: Kilohertz or one thousand Hz.Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.Line Array: A group of speakers that have been arrayed or “built up” in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies. Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range. Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers. Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.Passive: Not active. A passive crossover uses no external power and results in insertion loss. A passive speaker is one without internal amplification.Phase: Time relationship between signals; it's all relative.Power Output: A measure, usually in watts, of how much energy is modulated by a component.Preamplifier: A control and switching component that may include equalization functions. The preamp comes in the signal chain before the amplifiers.surround processor portion of the receiver and the input of the amplifier portion of the receiver.Processors: Anything that processes an incoming signal in some way. Surround processors, for example, can decode a Dolby Digital signal to send to an amp so you can hear it.Pulse Code Modulation: (PCM) a way to convert sound or analog information to binary information (0s and 1s) by taking samples of the sound and record the resulting number as binary information. Used on all CDs, DVD-Audio, and just about every other digital audio format. It can sometimes be found on DVD-Video.RF: Radio Frequency. Television signals are modulated onto RF signals and are then demodulated by your television's tuner. VCRs and DBS receivers often include channel 3 or 4 modulators, allowing the output signal to be tuned by the television on those channels. Also, laser discs used an RF signal for modulating Dolby Digital 5.1 soundtracks on some movies. This requires an RF demodulator (usually referred to as an AC3-RF demodulator) before or in the surround processor to decode the signal. RMS: Root Mean Square or the square root of the arithmetic mean (average) of the square's set of values. A reasonably accurate method of describing an amplifier's power output. Signal-to-Noise Ratio: A comparison of the signal level relative to the noise level. Larger numbers are better. Simultaneous Interpretation: This system allows attendees to hear the meeting in their own language. Sound field: The total acoustical characteristics of a space, such as ambience; number, timing, and relative level of reflections; ratio of direct to reflected sound; RT-60 time; etc. Speaker: A component that converts electrical energy into acoustical energy. SPL: Sound-Pressure Level. Measured in dB. Subwoofer: A speaker designed to reproduce very low bass frequencies, usually those below about 80 Hz.THX: Certification program for home theater equipment. Uses some proprietary features, but mostly assures a base quality level for a given room size. (See THX Select or Ultra.) Is compatible with any and all soundtrack formats. Stands for either Tom Holman's eXperiment, after the engineer who drafted the original standard, or is named after the company's founder George Lucas' first movie, THX 1138. Nobody agrees on which.

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