MIDAS Audio PRO6-DL371-DL231 Used,Second hand

2pcs PRO6 live digital consoles in flight cases
1pc   DL371U 19" rack-mount unit, with 5 Midas DSP Cards
2pcs DL231 24in/24out stageboxes
4pcs 50m CAT5 cables in reel
2pcs 2m CAT5 cables.

Photos on request.

More details

1.06.446
Used

27,900.00 €

27,900.00 € per Set

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About this product

PRO6

Live Digital Console Control Centre with 64 Input Channels, 35 Mix Buses and 96 kHz Sample Rate
  • Live performance digital console control centre with up to 64 simultaneous input channels
  • 35 time-aligned and phase-coherent mix buses
  • HyperMAC and AES50 networking allows up to 288 inputs and 294 outputs at 96 kHz sample rate
  • HyperMAC router with 192 bidirectional channels over copper and optical fibre
  • Provides dual redundant snake connection to DL371PRO6 Audio System Engine
  • Snake connections up to 500 m with optical fibre or 100m 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
  • 3-Year Warranty Program
  • Designed and engineered in the U.K.

DL371PRO6

Midas DL371PRO6 Overview The Midas DL371PRO6-01 for the Midas PRO6 Digital Mixing Console is a 7U 19" rack-mount unit, which houses up to 7 DSP audio processing cards and routing hardware. Employing an advanced FPGA (Field Programmable Gate Array) architecture, it has three removable power supplies, only two of which are required for full operation. The power supplies are auto-voltage sensing, auto-switchover, hot swappable, outfitted with locking AC connectors, and are identical to, and therefore interchangeable with, the PSUs in the control center. The engine has dual-redundant HyperMAC ports, in CAT-5e and optical variants, which provides the digital equivalent of a 384-way (192 in + 192 out) multi-core between the stage and FOH (Front of House).
The DL371PRO6-01 also has eight AES50 ports, which facilitate connections to the PRO Series DL351 stage box, and/or other AES50 I/O hardware. It is also possible to use any PRO Series with DL251, DL351, DL451 and DL431, plus the Klark Teknik DN9696 high-resolution audio recorder and DN9650 network bridge. The processing engine is loaded with 5 modules in the standard configuration.
The system is designed so that it can be expanded over time as the needs of the end user evolve. The PRO3 version of the DL371 DSP engine can be upgraded to the PRO6 version by the addition of a fifth processing card, as well as the appropriate licensing installation on the control console. Similarly the PRO6 version can be upgraded to the PRO9 version with the addition of a sixth card. All three models include an extra-cost option of adding an N+1 redundant card, which will automatically assume processing roles in the event of a card failure within the system.

Features
  • Redundant N+1 card option for fail safe operation
  • Redundant power supplies
  • Dual-redundant HyperMAC ports
  • Eight AES50 ports
  • Ethernet tunnel connection
  • Word clock and AES3 sync connections
  • Advanced FPGA architecture
  • Upgrade options for upgrading a PRO3 to a PRO6 or PRO9 and a PRO6 to a PRO9
  • 7U rack size.

DL231

24 Input, 24 Output Active Microphone Splitter with 2 Independent MIDAS Microphone Preamplifiers per Input
  • 2 award-winning MIDAS microphone preamplifiers per input with switchable +48 V phantom power
  • 2 dual redundant AES50 network ports with independent phase-locked loop synchronisation
  • 24 electronically balanced output channels can be sourced from microphone preamplifiers or AES50 ports
  • Remote operation up to 100 m via CAT5/5e cable
  • Selectable 96 kHz or 48 kHz sample rate operation
  • All settings programmable from front panel controls or console
  • PSU status indicator LEDs and configuration LCD display on front panel
  • MIDI In, Out and Thru connectors
  • Features Neutrik etherCON AES50 network ports
  • Rugged 5U rackmount chassis for durability in portable applications
  • Dual redundant auto-ranging universal switch-mode power supplies
  • 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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