Setting up in the skiing and snowboarding haven of Tignes in the French Alps, the Winter X Games ventured outside the US where more than 125 athletes from around the world gathered to compete. The sophisticated audio signal distribution for the event was placed in the hands of Gilles Bouvard Events and Entertainment (GB4D) – specialists at big event productions held in extreme conditions.

The event in France was co-produced by Canal+ Events on behalf of ESPN, and GB4D provided virtually all the audio equipment for the competition zones. This included the control tower audio boards and FOH equipment, the fibre network, the PA, cabling and some of the freelance technicians.

Midas has launched its Mixtender iPad app, providing wireless remote control of the Pro2 and Pro2C digital mixing systems.

Giving access fader levels and output GEQ remotely from an iPad, the app supports 64 input meters and 27 output meters, which can be viewed simultaneously in real time on the ‘console overview’ screen. Multiple iPads can be used on a single console simultaneously, and each iPad can be ‘locked’ to access a single mix. This allows each performer to control their monitor mix on their own iPad, without making changes to any other area of the console.

Mixtender also provides wireless remote control of all fader levels, including input faders, all bus contributions and masters, VCA, and MCA fader levels. Remote control of the Pro2’s onboard Klark Teknik DN370 graphic EQs, as well as input and output channel mutes, is also quick and easy.

‘The iPad’s reliable multi-touch interface makes it a perfect accessory for a Midas console,’ says Brand Development Manager, Richard Ferriday. ‘It will add an even greater degree of functional flexibility to our range.’

Mixtender is available now from the iTunes app store. The app will also be available for the Midas Pro Series and XL8 digital systems upon the imminent release of v2.0 software.

More: www.midasconsoles.com

I used to drink in a pub in Cambridge called the Free Press. I liked it.

In trade publishing, an ‘ad rich’ environment equates to a more free editorial agenda than an impoverished one. When ads are scarce, magazines may be afraid to publish critical or conflicting stories – from editorial comment and product reviews to advertisers’ competitors’ press releases – for fear of losing essential revenue. The question here is: who needs who the most?

Midas’ XL48 ‘digi-log’ mic preamp combines eight XL4 mic preamplifiers in a 1U-high box, complete with swept high- and low-pass filters, eight Midas XL8 96 kHz 24-bit A-D converters and a super-low-jitter clock. Additional features include eight-segment LED input meters, individual phantom power, polarity invert, and -20dB pad. All inputs are Neutrik XLR and 25-way D-sub connectivity.

The XL48 also features both analogue and digital outputs in Adat and AES/EBU format. All five outputs can be used simultaneously a multi-function analogue/digital mic splitter. Multiple clocking options include external wordclock, internal 96kHz, 88.2kHz, 48kHz and 44.1kHz.

Applications include mobile recording, analogue and/or digital splits between consoles, and adding Midas mic preamps and a reference-grade clock to other digital systems.

Key features:

· Eight mic/line inputs featuring Midas XL4 mic preamps.
· Analogue Midas XL4 swept low- and high-pass filters.
· Individual 48V phantom power switching per channel.
· Individual -20dB pad switching per channel.
· Individual polarity switching per channel.
· High accuracy 8-segment LED meter per channel.
· Midas XL8 ultra low latency 96kHz, 24-bit AD converters.
· Supports 44.1kHz, 48kHz, 88.2kHz and 96kHz sampling.
· Ultra low jitter reference-grade 1 part-per-million (1 ppm) temperature-compensated clock oscillator with external Word clock syncing options.
· Parallel fully balanced XLR and 25W D-Sub input connections.
· Driven and buffered fully balanced 25W D-Sub output connections.
· Dual AES3 25W D-Sub output connector.
· Dual TOSLINK optical output connectors.

More: www.midasconsoles.com

Midas’ first stand-alone digital console, the Pro1 joins the Pro2, Pro3, Pro6, Pro9 and flagship XL8.

‘The Pro1 opens new territory for Midas on a number of levels,’ explains Brand Development Manager, Richard Ferriday. ‘Pro1 takes all of Midas’ expertise, sample synchronous audio quality and rock-solid reliability and squeezes a fully-featured 48-channel digital mixer into a package which is smaller and lighter than a 24-channel VeniceF. People who care about audio need no longer compromise due to issues of space or portability. The plug-and-play Pro1 will fit any production or budget – multitrack recording, playback from computer and live inclusion of third-party plug-ins.

Launched at InfoComm 2012, the Pro1 uses an all-new, lightweight aluminium frame and features comprehensive I/O. Notable features include 24 mic/line inputs with Midas mic preamps; 48 simultaneous input processing channels; 24 analogue outputs (including two stereo local monitor outputs); three AES3 outputs; and two AES3 inputs.

Key features:

More: www.midasconsoles.com

Nicolas Kyvernitis Electronics Enterprises (NMK) is to hold a second series of certified audio courses during May and June in Dubai. The yearly education series will now go under the title Academy 2.0 and will be hosted at the new NMK Middle East FZCO office in Dubai Silicon Oasis. The seminars include presentations on Midas, Shure/DIS, Clear-Com and Rational Acoustics.

The series begins on 9-10 May with a Shure/DIS seminar that will focus on the new wireless products, applications and advanced conference electronics. On 25-26 May, the NMK Midas seminar will follow with provide two certification session – the Certified Midas Digital User (CMDU) and Certified Midas Digital Systems Engineer (CMDSE).

These will be followed by a Rational Acoustics seminar conducted on 4-5 June, which will will cover the Smaart sound system measurement, optimisation and control software. And on 23-24 June the Clear-Com seminar will highlight wired and wireless communication products.

‘NMK is a strong player in the market when it comes to educating our clients on the brands we distribute, holding regular workshops, orientations and demos,’ says Moswain Antao, Head of IT/Marketing at NMK. ‘Conducting certified seminars on the same raises the bar for professionals working in the region.

More: http://nmkelectronics.com/content/education

The sudden departure of John Oakley from Midas/Klark Teknik on 1 June appears to complete (or possibly continue) a cycle of high-profile exits since The Music Group (owner of Behringer) acquired the British brands in December 2009. Oakley is the fifth board member to depart since the takeover, as directors of Manufacturing, R&D and Sales & Marketing respectively have left the company in the past 18 months.

VeniceU extends Midas’ hybrid mixer line, using both analogue and digital technology.

The VeniceU’s bus structure is identical to the larger VeniceF – six aux sends, four groups, stereo masters, discrete mono bus and a 7:2 matrix. All bus outputs feature XLR connectors and insert capability. All six aux sends are switchable pre or post fade, and the two aux buses designated as monitor (foldback) sends are also switchable pre/post EQ on an individual channel basis.

Mono fhannels feature Midas mic preamplifiers, using discrete components, rather than IC options. The 20mm input gain is complimented by switched +48V, -20dB, polarity reverse and a 80Hz high-pass filter.

Mono channels can be routed to all six aux buses, the four subgroups in odd/even pairs, left and right masters via pan control, and discrete mono master output.

The equaliser section features four bands of Midas EQ, with swept filters on all four bands, an EQ in/out switch and LED status indicator. Additional switch functions with LED status indication are mute and solo. Metering is provided by a accurate four-element LED.

Multi-function channels have one mono mic, one stereo line, and a stereo USB input each. Each of the four multi-function channels feature separate gain for mono mic and stereo line inputs, using the same mic amp functions as the mono channels, along with four-band fixed frequency Midas EQ with in/out switch and LED status indicator. Additional switch functions with LED status indication are for mute and solo. The stereo USB inputs are intended to be used for either stereo media playback, stereo digital FX returns, or submixes created in the DAW.

Multi-function channels can be routed to all six aux buses, the four subgroups in odd/even pairs, left, right and mono masters.

The VeniceU has six aux buses, all of which are switchable pre or post-fade on an indivudual basis. The first pair, designated as ‘monitor’ mixes, are also switchable pre or post input channel EQ on an individual channel basis. This means that the input channels send to the monitors can be independent of the channel EQ.

All aux sends have master level rotary controls, mute and solo switches, and feature balanced XLR output connectors. The two ‘monitor’ mix auxes are also equipped with single TRS insert points.

All six aux sends can be routed to the USB audio interface, facilitating their use as recording or FX sends in conjunction with a suitably equipped computer.

Sub Groups The VeniceU has four subgroups, all of which feature 100mm fader, mute and solo switches with LED status indication. All subgroups can be routed to the stereo master outputs via a pan control, and also independently to the mono master output and to the USB interface. A fader changeover switch is provided for each subgroup, facilitating the group and aux signal paths to be swapped.

All four subgroups feature balanced XLR output connectors and single TRS insert points.

Master Outputs A single 100mm fader controls the LR outputs, which also have mute and solo switches with LED indicators. A balance pot is provided for matching the LR levels, and a switch for routing the LR mix to the mono output, which features 100mm fader and mute and solo switches.

All three master outputs feature balanced XLR output connectors and single TRS insert points.

In addition to the four multi-function input channels, all VeniceU models feature two stereo returns. These extra channels have dual TRS inputs, rotary level control, mute and solo switches with LED status indication, and routing to groups and stereo masters. Individual level controls are also provided to send the aux inputs to the two aux sends designated as monitor mixes.

A stereo playback input is provided with level control, mute and solo switches. Connection is via phono connectors.

A talkback input with level control and switch is provided with routing switches to Monitor 1&2, Aux 1-4, and stereo masters.

The two-channel 7:2 output matrix has level controls which source from the four groups, LR and mono outputs. Each channel features level output control, mute and solo switches with LED indication. There are additional switches which split the LR contributions to the matrix (default is a sum of LR) and to send the matrix outputs to the USB interface instead of the LR mix.

Both Matrix channels feature balanced XLR output connectors and single TRS insert points.

The VeniceU’s solo system features separate level controls and mute switches for headphone and local monitor outputs, with PFL/AFL selection for input solos. Headphone output is via quarter-inch TRS socket conveniently placed on the surface of the console. Local monitor (LR) outputs are available on XLR connectors located on the rear panel.

VeniceU’s USB audio interface combines digital audio processing with an analogue audio mixer. The USB interface can be used with any computer fitted with a USB port, and is effectively a 16-channel (8 x 8) digital audio bus, which connects directly to a computer and enables the use of most third-party audio processing software in conjunction with the console.

All six aux buses, four subgroups, both matrix buses and the stereo masters route to the USB interface, up to eight buses at one time. Applications include multitrack recording from the VeniceU’s digital bus outputs, and plug-in FX processors driven from aux sends and returned to the multi-function channels’ digital USB inputs - all with a heart of pure Midas.

Although the USB interface will work with nearly all computer-based DAW audio processing software, included in every VeniceU package is a free 60-day trial version of Reason, by Propellerhead. This software suite includes multitrack recording (up to 64 tracks), virtual racks full of FX and dynamics processing, and even a software mixer. Demo recording and FX templates are provided for quick, easy orientation with the powerful functionality of the VeniceU’s ‘Digi-log’ capabilities.

The VeniceU16 can be used as a freestanding console or fixed into an 11U-high 19-inch rack using the integral rack mount hardware. The rear panel rotates to facilitate easy connectivity in either orientation.

The VeniceU is finished in Midas ‘Heritage’ livery.

More: www.midasconsoles.com

Midas has launched Generation-ll software for all of its digital mixing consoles.

A response to the user feedback Midas has been gathering for the past five years, Generation-ll software brings the advanced navigation features from Pro2 to the entire range of Midas digital consoles.

The Advanced Navigation modes are: Collapsed Flip (which hides any channels not assigned to the selected bus), FX Navigation (which displays FX processors when appropriate bus is selected), GEQ Navigation (which flips VCA faders to GEQ control when appropriate bus is selected) and MCA mode (mix control association – a separate bank of VCAs for each of the console buses).

In addition to the new console navigation modes, Generation-ll software includes new high-resolution FX plug-ins, designed not only to exceed the performance of third party algorithms and hardware devices, but also to operate within Midas’ automatic latency management technology, ensuring a phase-coherent mix, regardless of how and where the processing is used.

New FX plug-ins:

· Five high-definition reverb processors – Ambience, Chamber, Hall, Plate and Vintage room.
· Dynamic EQ.
· 8 x 8 matrix mixer with EQ and delay.
· Dual stereo chorus.
· Dual stereo tap delay.

G-ll also contains features developed in conjunction with leading live sound engineers. A new multi-tabbed Preferences screen with new user options means that all Midas digital consoles can be ‘customised’ to operators’ preferences. The ‘console overview’ screen for Pro3, Pro6 and Pro9 provides at-a-glance reporting of system audio status. Other new features include aux pan linking, global pre/post selection and per-channel viewing of VCA and POP group membership.

The final component of Midas Generation-Il software is an onboard DHCP server, which permits remote control of any Midas digital console wirelessly from an Apple iPad, via any standard Ethernet-equipped wireless router.

More: www.midasconsoles.com

Midas has released the v1.14 Midas Offline Editor, which allows creation, editing and viewing of show files for an XL8 on any Intel-based Apple Macintosh computer running OS-X 10.6 or 10.7.

With its offline functionality, shows can be prepared ahead of time or migrated from and XL8 to a Pro6 (or vice-versa), and the console surface can be learned without access to a console.

The Offline Editor allows full control of all parameters – including creation of showfiles, management of preset libraries, system set-up and patching and so on. It will run either the XL8 version or the Pro-Series (Pro3, Pro6 or Pro9) version – as on the physical consoles, both will open the same showfiles, but available resources on that console are limited. The Pro-Series Offline Editor is sized for a Pro9 console –it shows 80 inputs. To use this version for smaller Pro6 and Pro3 consoles, the appropriate number of channels should be selected.

The Offline Editor runs in exactly the same manner as the console software with the addition of one extra screen on the Pro-Series OE, which is an overview screen designed to ease navigation (the XL8 version does not contain the overview). Shows are loaded and saved to and from a USB key, and imported onto the desk’s control centre in the usual way.

Version numbers are ‘in sync’ with the console version numbers, which indicates what they will work with – that is, XL8 Offline Editor v1.11.01 will only work with the XL8 v1.11.01. No other combinations are officially supported, though our forward and backward showfile convertor technology on the console means that you can load shows to different console versions.

System requirements: Intel-based Apple Macintosh computer 512Mb RAM or higher (1Gb recommended) Minimum 1024 x 768 screen resolution recommended (will run on lesser resolutions with scroll bars) 200 Mbytes free disk space. Mac OS-X 10.6 and 10.7.

More: www.midasconsoles.com
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