Verona 320
Verona is, quite simply, the desk the industry has been asking Midas for. It takes the concept of the ultra-compact Venice, Midas? best selling console of all time, and elevates it to the next level. Verona delivers more inputs, more features, along with legendary Midas quality in a package that revolutionises the 8 buss market. Visually, the console looks stunning; despite it?s physically modest proportions, it feels like a full-sized Midas to work on; and of course, most importantly of all, it sounds as good as it looks.
So what exactly is Verona?
Firstly, it?s a truly professional desk aimed squarely at the professional market. Mechanically and electronically Verona is much more than just another 8-bus console. If you are primarily motivated by audio quality, rigid mechanical construction, longterm reliability and high residual values, then it is THE 8-buss console.
The Verona series consists of 6 models ranging from 24 up to a massive 64 inputs, and incorporates all the features and components that make it look, sound and feel like a true Midas. It has been designed from the ground up by the same team responsible for the XL4 and the Heritage Series consoles, including the industry-standard Heritage 3000.
Anyone who has ever bought a Venice and loved it is going to be captivated by the Verona ? you get more inputs, more features and that all-important Midas quality. Available as an install or touring package the Verona will handle anything from houses of worship to broadcast / recording, theatre to corporate applications, and of course concert sound.
Verona Key Features
Superior Midas Sound
As with all our consoles we are continually striving to improve our sonic circuits. Verona uses a brand new premium performance mic amp design, with very high CMR performance providing simple, noise free interconnections. High performance audio summing busses are used throughout and all main outputs are fully balanced with high current capability for noise free interconnections.
Simple, Intuitive, Effective
Standing-up or sitting down? Either way ? relax! Your driving a MIDAS, the controls feel right and it?s an absolute pleasure. Whether it?s the highly accurate 4-band EQ, the superb 100mm monorail faders or the simple layout, Verona is designed to make the live sound engineer feel at home. Mix the show of your life with confidence!
Six Models - Verona 240 to Verona 640
Verona frames range from 24 inputs, and increment in blocks, of 8 up to a maximum of 64!
Two Functions, One Desk
Easy set-up for FOH or monitors: the Group/Aux changeover switch, allow the choice of any combination of the aux outputs to be controlled via a 100mm fader including insert point. This flexibility is supported by the front panel Aux EQ defeat switch - when pressed any auxes assigned pre fader will be sent pre EQ.
EQ
Highly accurate and musical swept 4-band EQ on every mono channel. The stereo channel is the same variety with swept mids. There is a switched high pass filter on every channel plus swept frequency on mono inputs.
Channel Inserts
Front panel switchable insert points on each mic input.
8 Audio Sub Groups Assigned from individual routing buttons (pre/post pan) from the input channel.
8 Aux Outputs
2 Aux busses with individual Pre/Post Fader switches and 6 Aux busses with global master Pre/Post fader assign.
Spatial Image System (S.I.S.)
Spatial Image System utilises a central cluster with a left-right system to form three discrete channels. Available from channels and groups.
12 x 4 Matrix
Fed from the Groups (or Auxes dependant on c/o switch), LR & C and external input on rotary controls. The external input can be individually routed directly to LR & C if required.
4 Mute Groups
Easy to programme, easy to re-call mutes created from inputs. The soft mute circuit has silent operation and LED indication.
Multi Function Modules
Verona includes 8 multi function inputs as standard. These inputs can be mono mic, stereo line or both. The stereo line jacks are for use with either balanced or unbalanced line level signals and are protected from 48V phantom. The mono mic amp input incorporates a phase switch and a front panel switched insert.
PSU?s
The current sharing, voltage sensing, auto-switching PSU?s are internally mounted. The ?no hum? design saves the need for external racking and cabling. Verona 240 and 320 come with one internal PSU whilst Verona 400, 480, 560 and 640 come with two internal PSU?s. Each frame includes an external connection port for an optional external PSU.
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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.
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