Heritage 2000
The Heritage 2000 mixing console is modular - making it easily field serviceable. The frame is a zinc-plated steel chassis and is available in a variety of sizes from 16 to 56 channels. Each 2000 mixing console includes as standard 12 audio sub groups, 12 aux sends (eight mono and two stereo), eight matrix outputs, one stereo and mono master module and one monitor module.
At the top of the mono input module is a gain section with switches for phantom power (+48 VDC), pad (30 dB attenuation), phase and PRE (reconfigures the direct output to pre-insert/equalizer switchable to other configurations by jumpers on the inside of the module). The direct output on every channel has a rotary control to provide continuous output level adjustment from +10 dB to off, a nice feature when used for recording.
The gain control for the microphone preamp gives continuous adjustment from +15 dB to +60 dB. The Heritage Series consoles feature a new microphone preamplifier, which further builds on the Midas XL4 design by providing a CMR improvement of +30 dB. This assures better RF rejection and noise performances.
The equalization section features a four-band parametric EQ with separate I/O switch. The +/-15 dB HF control is selectable between shelving or full parametric operation, and has a frequency range of 1 kHz to 20 kHz.
A dual concentric pot adjusts filter bandwidth and the boost and cut for each band. The bandwidth is variable from 0.1 to 2 octaves with center detent at 0.5. The high-mid frequency range is 400 Hz to 8 kHz, low mid is 100 Hz to 2 kHz and bass (parametric or shelving switchable) is 20 Hz to 400 Hz, providing substantial overlap. The equalization is completed with a defeatable high-pass filter whose cutoff frequency is adjustable between 20 Hz to 400 Hz.
The insert point is positioned post-EQ as standard a separate PRE switch arranges the input to pass through the insert before the equalizer. The insert send is always active, and the insert return in/out is switchable. Insert points on the rear of the module are TRS 1/4-inch balanced connectors.
The 2000 input module has eight mono-auxiliary and two stereo-send busses. Auxiliaries 1 through 8 (auxes 9, 10, 11 and 12 are switchable between four mono or two stereo, in pairs) have separate on/off switches illuminated with an adjacent LED to easily identify when it is engaged. Directly below are aux PRE switches to change the signal from post fader to pre fader.
Each mono auxiliary has a separate gain control knob to adjust level from off to +6 dB. Auxiliaries 9/10 and 11/12 have a common on/off and PRE switch, with a Mono switch to change the stereo aux into independent mono aux busses. When the mono switch is not engaged, the bottom rotary becomes a pan for stereo operation.
The routing section consists of 12 subgroup bus assignment switches, stereo and mono bus switches, panning control and a spatial imaging system control (SIS). All switches have adjacent illuminating LEDs. Pressing the SIS button on any input module configures that module for Left Center Right mixing. The spatial image control gives you the added benefit of blending your LCR mixes between the center cluster and the left/right outputs of the console. For example, when the image control is in turned fully clockwise to the LCR position and the channel pan pot in the straight up "detent" position, the input module acts just like any other LCR module, sending signal to the center cluster only.
As you begin to turn the image control counterclockwise, you start adding audio into the left and right speakers while keeping the level in the center cluster the same. When the image control reaches the center detent position, you are sending audio to the left center and right at equal levels. As you continue to rotate the control counterclockwise from the center detent position you start dropping audio from the center channel while leaving it up in the left and right speakers. When the control is turned fully counterclockwise, the signal is only being sent to the left and right outputs. This unique feature, along with the pan control, allows you great flexibility of imaging with an LCR configuration.
The Midas 2000 offers an HS0005 stereo input module that can be configured into the mainframe as an option. Stereo modules can be easily swapped with mono modules in any input position within the frame. A nice feature is that the 2000 stereo inputs are designed to accommodate mic- and line-level signals with the same gain range as the mono inputs. Penny & Giles faders are used throughout the console.
The center section of the console is fitted with 12 HS0012 group modules, two HS0041 matrix modules providing eight matrix outputs, HS0041 aux modules and one HS0031 monitor module. All output modules have graduated LED metering from -36 to +21 in 20 steps that are easy to view. The group module features two rotary-direct input controls with level adjustment from +10 dB to off and can be used as effect returns or for console bus linking. Below the direct inputs are pre- or post-group fader switches, direct mute switches for subgroup inputs and direct solo switches.
Eight rotary matrix mix controls provide continuous adjustment of the subgroup levels sent to the matrix mixes. Switches are provided for pre or post fader to the matrix, insert, and stereo and mono assign.
Each group module also has pan controls, talk switches to assign voice (or pink noise) from monitor module to that output, master group mute, safe switches to remove output from automation, a split switch to monitor the groups in mono or stereo, and faders. Each switch has LED illumination. The number of switches is comprehensive and well thought out, providing many options for routing schemes. All output modules in the center section include this type of switching and individual faders.
Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
Used MIDAS Audio
Midas has been designing and manufacturing audio consoles since the early 1970s. Later on it became part of the Telex group. When, in January 2006, Telex Communications was acquired by the Bosch group, Midas consoles became part of the business unit "Bosch Communications Systems". Midas parted company with Bosch in February 2010 and are now part of The Music Group.
A 19-inch rack holding several professional audio devices including a Midas XL88 8×8 matrix mixer at the bottom
A Midas Heritage 3000 mixing console on the right at the Front of House position at an outdoor concert.
Midas consoles are currently being used around the world by audio engineers largely in the live sound realm. Applications for these boards include Front of House (FOH) and monitor console positions.
Common and historical consoles include the Heritage 1000, 2000, 3000 and 4000, the venerable XL4, XL3 and XL200 & 250 large frame professional touring consoles and a variety of less expensive versions aimed at the club and regional sound market.
The first digital console from Midas, the XL8, was launched at the Frankfurt Music Messe in 2006, becoming the flagship Midas console. Notable features include three pre-amps per channel to enable Front of House, Monitor and broadcast control surfaces to be fed from the same input rack, dual redundant master control processors, and integration with the Klark Teknik Helix EQ system via the Rapide remote.
In September 2008 at the annual PLASA tradeshow, Midas introduced the PRO6 Live Audio System, the second networked digital audio system from Midas. Employing technologies developed from the XL8, the PRO6 offers similar audio performance in a compact package. In 2010, the PRO3 and PRO9 digital consoles were added to the Midas product line, along with the VeniceF digital-analog hybrid ("Digi-Log") console, which replaced the Venice analog console.
At the 2011 PLASA show, Midas unveiled the PRO2 and PRO2C consoles, which bring Midas digital features from the larger PRO and XL8 consoles into a more compact package and a lower price point. Midas launched the PRO1 digital console at InfoComm 2012 in Las Vegas. The PRO1 features an even smaller physical footprint and lower price point than the PRO2/PRO2C.
In January 2014 at Winter NAMM in Anaheim, California, MIDAS introduced their newest console, the M32 ($4,999 MSRP in USA), based largely on hugely-successful Behringer X32 mixer, sharing most of OS but with different microphone preamps, same as in MIDAS Pro series mixers. (X32 uses slightly different preamps, also designed by MIDAS, but using a sample rate of 48 kHz, using Cirrus Logic A/D converters.
MIDAS Pro preamps are 96 kHz and use MIDAS' own 8-channel A/D converter, branded MIDAS-8000, which reportedly has better performance numbers than Cirrus Logic chips used by most other console makers).
At that same time, Midas also began retiring much of its analog console product line including the Heritage, Legend, and Siena.
The Verona analog console and VeniceF and VeniceU analog-digital hybrid versions of the original Venice console are still an active part of Midas' product line. Midas also markets the digital audio distribution components that are commonly used with their digital consoles as stand-alone digital snakes, or larger multi-site audio distribution networks.
Linux is used at the core of all Midas digital consoles. This is mentioned prominently in their marketing materials, as well as in their preference for Linux development and kernel programming experience in job postings for development positions. At the core of all MIDAS Pro desks is standard PC motherboard with 4Gb flash card (as OS and data storage).
In December 2009, Midas and Klark Teknik were acquired by Music Group, a holding company chaired by Uli Behringer, which also owns other audio companies such as Turbosound, Behringer and Bugera as well as Electronic Manufacturing Services company Eurotec.
Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
Octave: The difference between two frequencies where one is twice the other. For example, 200 Hz is an octave higher than 100 Hz. 400 Hz is one octave higher than 200 Hz.
Optical Digital Cable: Fiber optic cable that transfers digital audio signals as light pulses.
Outcue/Outq/Out-Point: These words all refer to the final few seconds of audio signifying the conclusion of the production.
Package: A completed and fully edited audio piece.
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.
Pre Outs: Connectors that provide a line-level output of the internal preamp or surround processor.
Pre Outs/Main Ins: Connectors on a receiver that provide an interruptible signal loop between the output of the internal preamp or surround processor portion of the receiver and the input of the amplifier portion of the receiver.
Pre/Pro: A combination preamp and surround processor.
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.
Q-and-A: Question and answer session.
Receiver: Any component that receives, or tunes, broadcast signals, be it NTSC, HDTV, DBS, or AM/FM radio. Typically refers to the single component that includes a preamp, surround processor, multichannel amplifier, and AM/FM tuner.
Reverberation: The reflections of sound within a closed space.
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.
SACD: Super Audio CD. Enhanced audio format with up to six channels of high-resolution audio encoded using DSD. Requires an SACD player. Multichannel also requires a controller with six-channel analog or proprietary digital inputs for full playback.
Sampling Frequency: How often a digital sample is taken of an analog wave. The more samples taken, the more accurate the recording will be. You need to sample at a minimum of twice the highest frequency you want to capture. For example, the 44.1-kilohertz sampling rate of a CD cannot record sounds higher than 22.05 kilohertz.
Scener: A radio report in which the announcer is recorded at the same time and place as the background sound of an event.
Sensitivity: A measurement (in dB) of the sound-pressure level over a specified frequency range created by a speaker driven by 1 watt (2.83V at 8 ohms) of power with a microphone placed 1 meter away.
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 Bite: A portion of audio of someone speaking.
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.
Soundstage: The area between two speakers that appears to the listener to be occupied by sonic images. Like a real stage, a soundstage should have width, depth, and height.
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.
THX select: Certification program for speakers and receivers that assures a base level of quality and performance when played in a room that’s between 2,000 and 3,000 cubic feet.
User-Generated Content (UGC): Text, photos, video or audio supplied by the customers of a company.
Voicer: A radio report without background audio taken from a scene or otherwise.
Wrap: A radio report containing both the reporter and an actuality.
Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
Recently viewed
Product Brands
