MIDAS Audio PRO9-CC-TP-DL 351 Used, Second hand

Used PRO9-CC-TP digital mixing console with DSP and DL351 Modular Stage Box all in original flight cases.

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15,390.00 €

15,390.00 € per Set


About this product


Live Digital Console Control Centre with 88 Input Channels, 35 Mix Buses, 96 kHz Sample Rate and Touring Grade Road Case

The MIDAS PRO Series has become established as the industry standard on live concert tours and the road-proven PRO9 featuring 88 simultaneous input channels and 35 time-aligned and phase-coherent mix buses, shares the familiarity of a common user interface and workflow with PRO3 and PRO6. Like all PRO Series consoles, the PRO9 features managed latency and 40 bit floating point processing precision. PRO9 sets the standard of performance in high-profile live sound applications and is a truly impressive digital control surface for the engineer whose very livelihood depends on both unparalleled functionality and reliability.
HyperMAC and AES50 audio networking technologies allow the PRO9 to dynamically assign up to 288 inputs and 294 outputs at 96 kHz sampling rate to any of its input channels and bus outputs on a scene-by-scene basis. This high level of connectivity, coupled with the large channel and bus counts, makes the PRO9 equally at home in theatres and symphony halls as it is in live concert touring, outside broadcast and music festivals.

Digital Audio Networking

SuperMAC (AES50-Compliant) and HyperMAC digital audio networking technologies from KLARK TEKNIK simultaneously provide high channel counts, ultra low and deterministic latencies, sample-synchronous and phase-aligned networked clock distribution, error detection, network redundancy, and ease of deployment and use – to meet the demanding requirements of live concert touring.
The PRO9 HyperMAC router provides a dual redundant snake connection to the DL371PRO9 Audio System Engine over optical fibre and copper with a bandwidth of 192 bidirectional channels of 96 kHz 24 bit digital audio, up to a distance of 500 m with optical fibre or 100 m with CAT5/5e cable.
PRO9 is compatible with all MIDAS PRO Series digital I/O units, as well as with any other 96 kHz-enabled AES50-equipped devices. Multiple PRO Series consoles can be connected together to create either larger mixing systems, or multiple discrete mixing consoles can share a common resource of networked and distributed I/O interfaces.

Touring Grade Road Case

Rugged and built to last, the PRO9 Touring Pack includes a PRO369-RC Road Case, constructed from rigid marine grade plywood and durable aluminium extrusions. Dual load-bearing spigots that couple the weight of the console chassis directly into the road case and composite density foam provide internal support and superior protection in transit, night after night, city after city.

Advanced Navigation Flexibility

At the heart of MIDAS console navigation are the VCA and POPulation groups, which mirror the natural work flow used by mix engineers and encourages the development of a mental picture, or “Mind Map”, of the whole system. Only the required control elements and associated feedback are presented, allowing users to adopt structured task-based workflows, rather than being presented with an overwhelming ‘sea of knobs’.

Integrated Effects Processors and Graphic Equalisers

The PRO9 can simultaneously process up to 8 internal multi-channel effects and DL371PRO9’s 40 bit floating-point audio processing hosts a wide choice of virtual effects devices, which range from dual-mono delay units, stereo modulation and numerous diverse reverberation simulations, multi-band compression, dynamic EQ and multi-channel dual-function dynamics processing. Up to 36 1/3 octave KLARK TEKNIK DN370 Graphic Equalisers (GEQs) are provided, which can be patched into any output.
PRO9 provides comprehensive automatic latency management of all internal routing and processing latency – and also includes compensation for external analogue inserts. All audio samples are synchronised before summing, resulting in absolute phase coherence at the outputs, without the comb filtering effects of competing products that often result in specific frequencies being cancelled out completely.
All effects processors and GEQs are custom-designed to function within this automatic latency compensation system. This ensures a phase-coherent, sample-accurate mix regardless of whether the devices are used as channel inserts or on auxiliary buses.

Midas PRO Fader

Not satisfied with the existing motorised fader choices in the marketplace, MIDAS created the PRO FADER, rated for up to a million cycles – three times that of other leading manufacturers - and providing high linearity, robustness, and smooth feel during operation. This decision yielded many other benefits, including total quality control over the manufacturing process and lower costs that could be passed on to customers.
As a digital console manufacturer, MIDAS has a perspective on the actual application of motor faders that a component manufacturer would not have. The multi-disciplinary development project combined mechanical design, electronic hardware and software optimisation with a rigorous testing programme and an investment in material science to produce the best possible performance in actual operation in MIDAS PRO Series consoles. Semi-precious metals are used for the wiper fingers for their hard-wearing properties, and precision resistive tracks were created that offered highly linear positional accuracy, coupled with long-term durability and even response in use.

Highest Quality Display Screens

The PRO9 Control Centre features dual 15" full colour daylight-viewable TFT displays for use in all environments, both inside and outdoors. The displays provide visual feedback for the entire system, the on-screen menus instantly navigate to the console overview page, which keeps all vital information (all metering, all fader positions, mutes and solos) in view at all times.

Digital Precision, Analogue Response

The oversampled digital signal processing algorithms, combined with the fully interpolated and touch sensitive user controls, result in the smooth continuous response and immediacy of working on an analogue console. Parameter adjustment becomes fast and easy, and the continuous phase shift of a swept frequency control is heard without the quantisation artefacts exhibited by competing digital consoles.

Wireless Remote Control

Delivering unprecedented control and mobility, the MIXTENDER App for iPad* combines control of key functions with the highly responsive system metering, allowing users to take control of PRO9 using an iPad from anywhere in a venue. Support for multiple simultaneous iPads allows FOH and monitor engineers to work collaboratively, enhancing productivity and communication as well as saving valuable time during set-up.

Redundancy - For Peace of Mind

The PRO9 has dual-redundant control computers, and three removable power supplies - only two of which are required for operation. The power supplies, which are interchangeable with those in the DL371PRO9 Engine, are auto-voltage sensing for use on a worldwide basis and provide seamless switchover in the unlikely event of a loss of one of the three power supplies.
Combined with the dual-redundant HyperMAC snake and the redundant AES50 networking, no other console goes further in providing peace of mind. This means that during a show the user can focus on what is most important - treating the audience to a flawless sonic experience.

  • Live performance digital console control centre with up to 88 simultaneous input channels
  • 35 time-aligned and phase-coherent mix buses
  • HyperMAC and AES50 networking allows up to 288 inputs and 294 outputs @ 96 kHz Sample Rate
  • Touring grade road case featuring marine grade plywood, aluminium extrusions and composite density protective foam
  • HyperMAC router with 192 bidirectional channels over copper and optical fibre
  • Provides dual redundant snake connection to DL371PRO9 Audio System Engine
  • Snake connections up to 500 m with optical fibre or 100 m with CAT5/5e cable
  • 10 VCA (variable control association) and 6 POPulation groups
  • Up to 36 assignable 1/3 octave KLARK TEKNIK DN370 graphic equalisers
  • Up to 8 multi-channel digital signal processing effects engines
  • 29 MIDAS PRO motorised 100 mm faders
  • 2 daylight viewable 15” full colour TFT display screens
  • Fully interpolated touch sensitive controls
  • Optional wireless remote control with MIDAS MIXTENDER App for iPad*
  • Three bay auto-ranging universal switch-mode power supply with N+1 redundancy
  • 10-Year Warranty Program*
  • Designed and engineered in the U.K.

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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