PRO2C-CC-TP
Compact Live Digital Console Control Centre with 64 Input Channels, 8 Midas Microphone Preamplifiers, 27 Mix Buses, 96 kHz Sample Rate and Touring Grade Road Case
PRO SERIES PRO2C-CC-TP
The ground breaking PRO2C features 64 simultaneous input channels with 8 award-winning MIDAS Microphone Preamplifiers and 27 time-aligned and phasecoherent mix buses. Like all PRO Series consoles, the PRO2C features managed latency and 40 bit floating point processing precision. Designed for use in high-profile live sound applications, the PRO2C sets a new standard of performance and portability in a compact digital console form factor.
AES50 audio networking technology allows the PRO2C to dynamically assign up to 156 inputs and 164 outputs at 96 kHz sample 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 PRO2C equally at home in theatres and clubs as it is in live concert touring, outside broadcast and music festivals.
Award-Winning MIDAS Microphone Preamplifier
The MIDAS microphone preamplifier is considered by leading live sound and recording engineers to be the very essence of the famous MIDAS sound. More than 40 years of design experience paired with the finest choice of premium-grade components lead to the acclaimed warmth and depth - bringing out subtle ambience, maintaining spatial positioning and more effectively capturing a precise sound image. The acclaimed sound of the award-winning MIDAS microphone preamplifier has inspired generations of live sound engineers to their best work, creating sonic panoramas that have captivated audiences worldwide.
Since pristine sound always begins with the microphone preamplifier, the first point where the signal enters the console, PRO2C features the latest generation of MIDAS microphone preamplifiers, which faithfully reproduce every sonic detail so no part of a performance will ever be missed. Transparent and pristine sound, low noise and high common-mode rejection are all hallmarks of this classic design.
Over the years many mix engineers have found this robust and overload-tolerant design takes on a whole new dimension of sound when driven hard, the crystal-clear audiophile reproduction giving way to just the right combination of harmonics, a warm and organic sound heard by millions of concert goers and recorded for posterity on countless live albums over the years.
Digital Audio Networking
SuperMAC (AES50-Compliant) digital audio networking technology from KLARK TEKNIK simultaneously provides high channel counts, ultra low and deterministic latencies, sample-synchronous and phase-aligned networked clock distribution, error detection and correction, network redundancy, and ease of deployment and use ? to meet the demanding requirements of live concert touring.
PRO2C 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 PRO2C Touring Pack includes a PRO2C-RC Road Case, constructed from rigid marine grade plywood and durable aluminium extrusions. Composite density foam provides internal support and superior protection in transit, night after night, city after city.
Advanced Navigation Flexibility
PRO2C incorporates new and innovative methods of channel and mix bay navigation: FLIP Navigation, FX Navigation, GEQ Navigation, and MCA Navigation. These four options allow an engineer to easily and effi ciently mix a large number of inputs on a compact control surface. PRO2C also features the ability to display and control any output bus on the input control bay area. This navigation flexibility makes working with the console as simple as requirements dictate, or as deep and complex as a user desires. PRO2C?s new output section, which features 24 direct bus selection switches that provide immediate access to up to 24 stereo pairs of output mix buses, also supports the new navigation modes.
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. If the Collapsed Flip (Hide Unassigned Channels) preference is ticked, then the console will only populate with the input channels that are assigned to the selected output, otherwise all channels will be displayed.
When the FX navigation button is engaged, selecting an output which is patched to an internal effects processor, this mode will deploy that effects processor on the display screen and map the ASSIGNABLE CONTROLS to the effects processor. If FADER FLIP is also engaged, the input channel faders will become the contributions to the effects processor. If COLLAPSED FLIP (Hide Unassigned Channels) preference is selected, the operator will only be presented with input channels that are sending to that effects processor.
When the GEQ navigation button is engaged, selecting an output which has a graphic equaliser (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 (Hide Unassigned Channels) preference is selected, the operator will only be presented with input channels which are sending to that mix.
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 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.
Integrated Effects Processors and Graphic Equalisers
The PRO2C can simultaneously provide up to 6 multi-channel digital signal processing engines for a wide choice of virtual eff ect 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 28 1?3 octave KLARK TEKNIK DN370 Graphic Equalisers (GEQs) are provided, which can be patched into any output.
PRO2C 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 many of its Competitor?s 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 benefi ts, 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 off er highly linear positional accuracy, coupled with long-term durability and even response in use.
Highest Quality Display Screen
The PRO2C features a 15" full colour daylight-viewable TFT display for use in all environments, both inside and outdoors. The display provides visual feedback for the entire system, pressing the HOME key (just to the left of the assignable controls) instantly navigates 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 PRO2C from an iPad 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.
The MIXTENDER App for iPad is available as a free download from the Apple App Store.
Auto-Ranging Universal Switch-Mode Power Supplies
PRO2C features dual-redundant power supplies, which are interchangeable with those in PRO1 and PRO2, and are auto-voltage sensing for use on a worldwide basis and provide seamless switchover in the unlikely event of a loss of one power supply.
Architecture and Engineering Specifications
The control centre shall be designed for digital audio mixing applications and be optimised for use in live performance. It shall feature 64 simultaneous input channels with 8 integrated microphone preamplifier inputs and 27 time-aligned and phase-coherent output mix buses and operate at 96 kHz sampling rate.
The control centre shall support 100 Mbit/s Ethernet frame-based digital audio networking with a total network channel count capability of 156 inputs and 164 outputs at 96 kHz sampling rate.
The 100 Megabit Ethernet frame-based digital audio network shall off er N+1 cable redundancy and be compliant with the Audio Engineering Society AES50-2011 standard.
The control centre shall provide a combination of up to 28 assignable digital audio emulations of industry standard one-third octave proportional-Q response graphic equalisers and 6 multi-channel digital signal processing effects engines. There shall be automatic latency management of all internal routing, external analogue insert and digital signal processing delays. This latency management system shall synchronise audio samples when summing to mix buses to ensure phase alignment of the summed signals.
The control centre shall provide a user navigation system including 8 variable control association (VCA) groups and 6 population (POP) groups.
The control centre shall have 20 motorised 100 mm faders with a rated life time of up to one million cycles and one daylight-viewable 15" full colour display screen. It shall include software interpolation of physical control elements and associated display feedback to eliminate digital quantisation artefacts.
The control centre shall have the provision for the optional wireless control using an Apple iPad, with a bespoke software application available as a free download from the Apple App Store.
The control centre shall include two auto-ranging universal switch-mode power supplies with dual redundancy for use on a worldwide basis. The power supply modules shall be externally removable.
The control centre shall be 882 mm wide x 730.3 mm deep x 274.9 mm high (34.7" x 28.7" x 10.8"), with nominal weight 37 kg (81.4 lbs). The control centre shall be installed on a flat horizontal surface capable of safely supporting its weight. Input, output, and power connections shall be made at the rear panel of the control centre. Installers shall allow adequate space at the rear for connection and disconnection of input, output, and power connections. The power requirements shall be 100 to 240 VAC, 50 to 60 Hz.
The control centre shall be supplied in a touring package including a road case constructed from marine grade plywood with aluminium extrusions, with internal support provided by protective composite density foam. The road case shall be 964 mm wide x 455 mm deep x 1116 mm high (38.0" x 17.9" x 43.9") including castor wheels and the gross weight of the control centre in the road case shall be 120.2 kg (264.4 lbs).
The control centre shall be the MIDAS PRO2C-CC-TP and no other alternative shall be acceptable.
Features
- Compact live performance digital console control centre with up to 64 simultaneous input channels
- 8 award-winning Midas microphone preamplifiers
- 27 time-aligned and phase-coherent mix buses
- AES50 networking allows up to 156 inputs and 164 outputs @ 96 kHz sample rate
- Touring grade road case featuring marine grade plywood, aluminium extrusions and composite density protective foam
- Advanced MCA (mix control association) channel control and navigation
- 8 VCA (variable control association) and 6 POPulation groups
- Up to 28 assignable 1/3 octave Klark Teknik DN370 graphic equalisers
- Up to 6 multi-channel digital signal processing effects engines
- 20 Midas PRO motorised 100 mm faders
- Daylight viewable 15? full colour TFT display screen
- Fully interpolated touch sensitive controls
- Optional wireless remote control with Midas MIXTENDER App for iPad*
- Dual redundant auto-ranging universal switch-mode power supplies
- 10-Year Warranty Program*
- Designed and engineered in the U.K.
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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.
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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.
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