Klark Teknik MIDAS XL250 User manual

Klark Teknik Group,
Klark Teknik Building,
Walter Nash Road,
Kidderminster.
Worcestershire.
DY11 7HJ.
England.
Tel:[phone]
Fax:[phone]
Email: [email protected]
Website: midasconsoles.com

MIDAS XL250
LIVE PERFORMANCE CONSOLE
Contents
Xl250 Specifications Overview and Statistics
Xl250 Technical Specification
Xl250 Controls
Xl2501 Mono Input Module 1
Xl2504 Stereo Input Module 5
Group Output Modules 9
Xl2521 Comms Module 13

Direct Outputs.
Every input module is fitted with a direct output as standard with its own level control and front panel
switch which selects the source from pre fader or pre insert and equaliser. This provides a valuable output
feed to effects, broadcast or recording.
Input Metering.
The peak reading input meters monitor pre fader signals and cover a 40dB range from +15dBu downwards
in ten 3dB steps with a signal present indicator at -25dBu.
The Inserts.
Each channel has a half normalised fully balanced insert send and return point which can be switched in or
out and set as either pre or post equaliser from the front panel.
The Inputs.
The XL250 features a new mic amplifier which improves on the XL3 design giving better CMR, noise and
distortion performance whilst retaining the XL3's constant HF bandwidth topology which assures excellent
amplifier stability and RF rejection at all gains. All inputs, mic, line, insert etc. are fully balanced and are
both differential and common mode impedance matched.
Compact and Ergonomic.
Great care has been taken to get the ìfeelî of the console correct. The result is a simple, fast and responsive
control surface which is compact and yet gives effortless control over the 48 inputs and 20 outputs.
The Sound.
The XL250 has the ìMidas Soundî. Transparent, open and dynamic. Switch changes are silent, the noise
floor is way down and the headroom is high due to the consistent internal gain structure.
Multi Functional Application.
The XL250 is an extremely flexible and truly ìmulti-functionalî console. It can be re-configured in seconds
for applications such as in ear monitoring, wedge monitoring, combinations of both, front of house use and
many more. All this is achieved with no compromise to the control functions or layout through use of
Midas XL250 Features.
configurable busses and the controls that feed them. If you need a stereo buss, switch the stereo button
between two groups and they are now working in stereo with all inputs routed via level and pan controls.
If you want mono busses switch the stereo button off and the two groups are independent and fed from
separate level controls on the input channels.
The Equaliser.
The responsive control, character and sonic performance of the legendary XL3 equaliser are maintained in
full including parametric mid's and traditional Midas swept shelving treble and bass.

The Communications Module.
The talk system is very simple, fast and flexible; one button press selects the source from a choice of talk
mic, pink noise generator, swept oscillator or external input; a second button press routes the signals to any
of the mix outputs. An external output is also provided to connect to other systems. Internal console signals
can be monitored via a powerful 8 watt headphone amplifier or via speakers under control from the 100mm
local output fader.
The Solo System.
The XL250 has an advanced solo system which operates in two main modes; auto cancel and input priority
add mode. The auto cancel mode allows fast access channels and groups by removing the need to cancel
previous solos. The add mode allows the building of solo scenes when many solos can be placed on to the
solo buses at the same time; inputs are given priority over groups, i.e. any active input channel solo will
Automutes.
The XL250 has 8 automute masters which can be assigned to any input or group and act on pre fader and
post fader signals. These are overlapping and allow easy muting of unwanted instruments during a
performance. Each module has a safe switch which can be used to over ride the automute system.
Outputs and Meters.
All outputs including insert sends can drive large capacitive loads and feature semi-floating fully balanced
circuits which are both differential and common mode impedance matched. All the mix group outputs are
monitored post fader by 20 led peak reading meters which cover a 60dB range in 3dB steps.
Mix Groups with Direct Inputs.
The 20 mix groups feature 100mm faders and can be used directly for speaker outputs or as audio sub
groups with groups 1 to 18 feeding the stereo master (groups 19 and 20) via individual pan controls and
on/off switches. Each mix group also has a direct input with level control which can be routed into the mix
group either pre or post insert point. This can be used to link consoles, return effects, bring in sub mixes or
taped material etc.
Audio Busses.
The XL250 has 4 fixed busses, 2 aux busses for effects sends and a stereo master bus. The aux busses have
independent on/off switching and pre/post fader switching. The remaining 16 busses are configured on a
bus by bus basis as mono or stereo. The channel mix controls that feed these busses automatically change
from level and level to level and pan with the push of a switch on the group modules. As an extreme this
gives 18 independent mono busses with a stereo master bus or 2 mono aux busses with 9 independent stereo
busses. Dual concentric type controls have not been used on any of the bus sends. This simplifies
adjustment and viewing of relative levels within the mix. All the configurable mix sends feature independent
on/off switching and pre/post fader switching.
temporarily override an active group solo. In auto cancel mode, stereo and other multiple channels or groups
can be soloed together providing they are switched on at the same time. This saves switching back and forth
between the two modes. In either mode the solo switches are only latching in operation if they are pressed
for under a second, if they are held for longer than this they unlatch and the solo will cancel when the switch
is finally released. The solo system can operate as PFL mono, AFL stereo or solo in place which operates on
the stereo master output.

7. The XL250 has a total of 62 peak program meters with:-
20 LED segments on outputs
11 LED segments on inputs
8. XL250 Dimensions:-
1736mm width
1020mm depth
260mm height
9. XL250 Weight:-
1 29Kg/258lb net weight
301Kg/665lb shipping weight
6. The XL250 has a total of 136 balanced 1/4 inch jacks for inserts follows:-
48 input channel insert sends
48 input channel insert returns
2 mono aux insert sends
2 mono aux insert returns
16 configurable group insert sends
16 configurable group insert returns
2 stereo master insert sends
2 stereo master insert returns
5. The XL250 has a total XLR output count of 58 as follows:-
32 input channel direct outputs
2 aux outputs
16 configurable group outputs
2 stereo master outputs
3 solo outputs
2 local outputs
1 talk output
3. The XL250 has 48 input channels plus an additional 20 direct inputs on the group modules.
4. The XL250 has a total XLR input count of 73 as follows:-
48 channel mic inputs
20 group direct inputs
3 solo bus inject inputs
1 talk mic input
1 talk bus inject input
1. The XL250 is a 23 bus console as follows:-
2 mono aux =2
16 stereo or mono configurable groups =16
1 stereo master =2
1 stereo AFL =2
1 mono PFL =1
TOTAL =23
2. The XL250 has 8 automute group busses.
XL250 Specification Overview and Statistics.

XL250 Technical Specification.
Input Impedance Mic 2K Balanced
Line 20K Balanced
Input Gain MicContinuously variable from+ 15dB to + 60dB (all faders at 0dB)
Mic + PadContinuously variable from - 10dB to + 35dB
Line Level Inputs0dB
Maximum Input LevelMic+ 6dBu
Mic + Pad + 31dBu
Line Level Inputs+ 21dBu
CMR at 1kHz Mic (gain + 60dB) > 70dB
Mic + Pad (gain + 30dB) > 50dB
Line > 50dB
Frequency Response Mic to Mix (20 to 20kHz) (gain + 60dB)
+ 0dB to - 1dB
Noise (20 to 20kHz) Mic EIN ref.
150 Ohms (gain + 60dB) - 129dBu
Mic + Pad EIN (gain +10dB) - 99dBu
Group Direct Line Input EIN
( gain +10) - 100dBu
System Noise (20 to 20kHz) Summing Noise
(12 channels routed with faders down) - 83dBu
Line to Mix Noise
(12 channels routed at 0dB, pan centre) - 81dBu
Summing Noise
(48 channels routedwith faders down) - 81dBu
Line to Mix Noise
(48 channels routedat 0dB, pan centre) - 75dBu
Distortion at 1kHz Mic to Mix (+ 60dB
gain, 0dBu output) < 0.03%
Crosstalk at 1 kHz Channel to Channel < - 90dB
Mix to Mix < - 70dB
Channel to Mix < - 70dB
Maximum Fader attenuation > 80dB
Output Impedance All Line Outputs50 Ohms Balanced Source to drive
> 600 Ohms
Headphones To drive > 8 Ohms
Maximum Output Level All Line Outputs+ 21dBu
Headphones + 21dBu (8W into 8 Ohms)
Nominal Signal LevelMic- 60dBu to + 10dBu
Talk Mic - 50dBu to - 20dBu (auto gain)
Line Inputsand Outputs 0dBu
Headphones+ 10dBu
Headroom at all stages
Headphones >10dB
All other signals >20dB

Input Metering Type10 led peak reading plus signal present
Range- 25dBu to + 15dBu
Colour GreenUp to + 6dBu Normal signal
Colour Yellow+ 9dBu to + 12dBu High signal
Colour RedOver + 15dBu Signal Very High
Quantity 40
Output Metering Type20 led peak reading
Range- 36dBu to + 21dBu
Colour GreenUp to + 9dBu Normal signal
Colour Yellow + 12dBu to + 15dBu High signal
Colour RedOver + 18dBu Signal Too High
Quantity 22
Equaliser Hi pass slope12dB / Oct.
Hi pass frequency Continuously variable
- 3dB point from 20Hz to 400Hz
Treble Gain Continuously variable
+15dBto-1 5dB
Centre detent = 0dB
Treble Shelving Continuously variable
Freq.- 3dB point from 1K to 20K
Hi Mid GainContinuously variable
+15dBto-1 5dB
Centre detent = 0dB
Hi Mid Freq. Continuously variable
centre from 400Hz to 8K
Hi Mid Bandwidth Continuously variable from 0.1 Oct. to 2 Oct.
Lo Mid Gain Continuously variable
+15dBto-1 5dB
Centre detent = 0dB
Lo Mid Freq. Continuously variable
centre from 100Hz to 2K
Lo Mid Bandwidth Continuously variable from 0.1 Oct. to 2 Oct.
Bass Gain Continuously variable
+15dBto-1 5dB
Centre detent = 0dB
Bass Shelving Continuously variable
Freq.- 3dB point from 20Hz to 200Hz

MIDA S XL2501
MIDA S XL2501
+12
+15
-12
-25
0
+3
-3
+6
-6
+9
-9
20
60 160
400
mute
solo
ST
1
3
5
7
9
11
13
15
17
2
4
6
8
10
12
14
16
18
treble
hi
mid
60
25
15
40
high
pass
bass
gain
freq
2k
5k 10k
20k
400
1k 3k
8k
20
50 100
lo
mid
100
300 800
2k
200
gain
auto
mutes
8
7
2
1
6
5
4
3
SAFE
0
+6
0
+6
PREPRE
+10
0
l
C
r
0
PREPRE
PRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
PRE
0.1
0.3 0.6
2
0.1
0.3 0.6
2
PA D
48V
O
INS
EQ
direct
MIDA S XL2504
MIDA S XL2504
+12
+15
-12
-25
0
+3
-3
+6
-6
+9
-9
mute
solo
ST
1
3
5
7
9
11
13
15
17
2
4
6
8
10
12
14
16
18
auto
mutes
8
7
2
1
6
5
4
3
SAFE
0
+6
0
+6
PREPRE
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
20
60 160
400
100
300 800
2k
EQ
EQ
treble
mid
60
25
15
40
high
pass
bass
right
left
-15
0
+15
-15
0
+15
-15
0
+15
O O
48V PA D
INSINS
gain
rl
c
bal
stereo
LR
10k
4k
1k5
500
X5
XL2511
mute
solo
mute
solo
8
7
2
1
6
5
4
3
SAFE
8
7
2
1
6
5
4
3
SAFE SAFE
MIDA S
MIDA S
mute
solo
mute
solo
ON solo c/o
solo c/o ON
ON solo c/o
solo c/o ON
stereo
8
7
2
1
6
5
4
3
SAFE
u
s
e
12
11 12
a
u
o8
7
2
1
6
5
4
3
INS INS
INS INS
XL2511
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
12
11 12
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
1
11
2
12
21
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
XL2512
mute
solo
mute
solo
8
7
2
1
6
5
4
3
SAFE
8
7
2
1
6
5
4
3
SAFE SAFE
MIDA S
MIDA S
mute
solo
mute
solo
ON solo c/o
solo c/o ON
ON solo c/o
solo c/o ON
stereo
8
7
2
1
6
5
4
3
SAFE
34
13 14
a
u
o8
7
2
1
6
5
4
3
INS INS
INS INS
XL2512
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
34
13 14
u
s
e
stereo
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
3
13
4
14
43
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
stereo
XL2513
mute
solo
mute
solo
8
7
2
1
6
5
4
3
SAFE
8
7
2
1
6
5
4
3
SAFE SAFE
MIDA S
MIDA S
mute
solo
mute
solo
ON solo c/o
solo c/o ON
ON solo c/o
solo c/o ON
stereo
8
7
2
1
6
5
4
3
SAFE
56
15 16
a
u
o8
7
2
1
6
5
4
3
INS INS
INS INS
XL2513
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
56
15 16
stereo
u
s
e
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
5
15
6
16
65
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
stereo
XL2514
mute
solo
mute
solo
8
7
2
1
6
5
4
3
SAFE
8
7
2
1
6
5
4
3
SAFE SAFE
MIDA S
MIDA S
mute
solo
mute
solo
ON solo c/o
solo c/o ON
ON solo c/o
solo c/o ON
stereo
8
7
2
1
6
5
4
3
SAFE
78
17 18
a
u
o8
7
2
1
6
5
4
3
INS INS
INS INS
XL2514
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
78
17 18
stereo
u
s
e
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
7
17
8
18
87
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
stereo
XL2515
mute
solo
mute
solo
8
7
2
1
6
5
4
3
SAFE
8
7
2
1
6
5
4
3
SAFE SAFE
MIDA S
MIDA S
mute
solo
mute
solo
ON solo c/o
solo c/o ON
ON solo c/o
solo c/o ON
8
7
2
1
6
5
4
3
SAFE
910
LR
a
u
o8
7
2
1
6
5
4
3
INS INS
INS INS
XL2515
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
910
+10
0
PRE
direct
+10
0
PRE
direct
LR
stereo
stereo
master
u
s
e
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
9
L
10
R
109
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
XL2521MIDA S
MIDA S
solo
clear
right
solo
AFL
ON
solo
left
(pfl)
solo
right
(local)
1
3
5
7
9
11
13
15
17
L
2
4
6
8
10
12
14
16
18
R
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ON
ST
ST
+6
0
10k
100
300 1k
XL2521
talk to
groups
talk
mic
level
MUTE
0
+10
headphone
level
frequency
oscillator
pink
noise
ON
external
solo add
mode
monitor
1
2
3
4
5
6
7
8
+6
0
auto mute masters
local
mute
left
solo
solo in place
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
MIDAS XL2517
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
11 12
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
13 14
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
15 16
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
17 18
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
LR
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
local
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
MIDAS XL2505
stereostereo
MIDAS XL250 CONTROLS

MIDA S XL2501
MIDA S XL2501
+12
+15
-12
-25
0
+3
-3
+6
-6
+9
-9
20
60 160
400
mute
solo
ST
1
3
5
7
9
11
13
15
17
2
4
6
8
10
12
14
16
18
treble
hi
mid
60
25
15
40
high
pass
bass
gain
freq
2k
5k 10k
20k
400
1k 3k
8k
20
50 100
lo
mid
100
300 800
2k
200
gain
auto
mutes
8
7
2
1
6
5
4
3
SAFE
0
+6
0
+6
PREPRE
+10
0
l
C
r
0
PREPRE
PRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
PRE
0.1
0.3 0.6
2
0.1
0.3 0.6
2
PA D
48V
O
INS
EQ
direct
MIDAS XL2501
Mono Input Module
1

MIDA S XL2501
20
60 160
400
treble
hi
mid
60
25
15
40
high
pass
bass
gain
freq
2k
5k 10k
20k
400
1k 3k
8k
20
50 100
lo
mid
100
300 800
2k
200
gain
0.1
0.3 0.6
2
0.1
0.3 0.6
2
PA D
48V
O
EQ
The PHASE switch activates a 180
degrees phase change within the
input amplifier.
The PAD switch gives 25dB of
attenuation to the input signal which
will allow the connection of high
output microphones or line level
signals. If the input amplifier is
transformer coupled (option) the pad
greatly reduces the risk of saturation
at very low frequencies.
The GAIN control gives continuous
adjustment of the input amplifier gain
from +15dB to 60dB
The 48V switch connects 48 volt
phantom power to the input
connector which is suitable for a
condenser microphone or DI box.
The TREBLE (dual concentric top)
control gives continuous adjustment
of boost and cut from + 15dB to -
15dB with a 0dB centre detent.
The treble FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range
that the treble equaliser acts on from
2K to 20K. The treble equaliser has
a shelving response.
The HI MID (dual concentric top)
control gives continuous adjustment
of boost and cut from + 15dB to -
15dB with a 0dB centre detent.
The hi mid FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range
that the hi mid equaliser acts on from
400Hz to 8K.
The hi mid WIDTH control gives
continuous adjustment of bandwidth
from 0.1 to 2 octaves with a 0.4
octave centre point.
The lo mid WIDTH control gives
continuous adjustment of bandwidth
from 0.1 to 2 octaves with a 0.4
octave centre point.
The LO MID (dual concentric top)
control gives continuous adjustment
of boost and cut from + 15dB to -
15dB with a 0dB centre detent.
The lo mid FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range
that the lo mid equaliser acts on
from 100Hz to 2K.
The BASS (dual concentric top)
control gives continuous adjustment
of boost and cut from + 15dB to -
15dB with a 0dB centre detent.
The bass FREQ. (dual concentric
bottom) control gives continuous
adjustment of the frequency range
that the bass equaliser acts on from
20Hz to 200Hz. The bass equaliser
has a shelving response.
The HI PASS filter control is
continuously adjustable from 20Hz
to 400Hz.
The HI PASS switch connects the
filter in the input channel signal path
before the insert point and equaliser.
The EQ switch connects the
equaliser in the input channel signal
path.
2

1
3
5
7
9
11
13
15
17
2
4
6
8
10
12
14
16
18
0
+6
0
+6
PREPRE
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
0
PREPRE
0
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
+6l
C
r
PREINS
The INS switch connects the input
insert return signal to the input
channel signal path.
The insert PRE switch arranges the
input channel signal to pass through
the insert point before the equaliser
when activated and after the insert
point when not activated.
The mono aux MIX controls (1 and
2) give continuous adjustment of the
level sent from the input channel to
the aux busses. The level adjustment
is from + 6dB to off. These controls
incorporate an ON/OFF switch by
way of a non latching push/push
action. Status is indicated by a LED
The aux PRE switches change the
signal sent to the aux busses from
post fader to pre fader .
The configurable group MIX
controls (3 to 18) adjust the levels
sent from the input channel to the
group busses. They can be
configured as mono or stereo on a
bus by bus basis and are controlled
from the global STEREO switches
on the GROUP modules. When
configured as stereo the left controls
perform a pan function with a
constant power (- 3dB) law while
the right controls give continuous
level adjustment from + 6dB to off.
When configured as mono the left
and right controls give independent
level adjustments from + 6dB to off.
These controls incorporate an
ON/OFF switch by way of a non
latching push/push action. Status is
indicated by a LED. When
configured as stereo only the right
switch controls and LED's are
active.
The group PRE switches change the
signals sent to the group busses from
post fader to pre fader . When
configured as stereo only the right
switches are active.
3

MIDAS XL2501
+12
+15
-12
-25
0
+3
-3
+6
-6
+9
-9
mute
solo
ST
auto
mutes
8
7
2
1
6
5
4
3
SAFE
+10
0
l
C
r
PRE
direct
The DIRECT output control gives
continuous adjustment of the direct
output level from + 10dB to off. The
output is derived from the input
channel post equaliser pre fader
signal.
The PRE switch re configures the
direct output to derive signal from
the input channel pre insert and
equaliser .
The PAN controls the placement of
the channel within the master stereo
mix and has a constant power law
i.e. - 3dB at the centre position.
The ST switch connects the post
fader channel signal to the master
stereo bus via the pan control.
The AUTO MUTE switches assign
the channel to the 8 auto mute
groups.
The SAFE switches disconnect the
channel mutes from the auto mute
busses.
The MUTE switch mutes the input
channel at all points except the insert
send and direct output if it is set to
pre.
The SOLO switch sends the input
channel signal to the PFL mono and
AFL stereo busses. If the switch is
pressed for a short time it will latch
on or off, but, if it is held on for
more than 1 second the latching is
disabled and when the switch is
released the channel solo will turn
off. As a default the solo system is
auto cancelling so each new solo
cancels the last. This function is time
dependant which allows several
solos to be active as long as they are
switched on at approximately the
same time. The SOLO ADD MODE
switch on the COMMS module
defeats the auto cancelling and
allows multiple channel monitoring.
In this mode input solos have
priority over outputs and will
temporarily override any active
output solos.
The METER monitors the peak
signal level of the pre fader input
channel
The FADER gives continuous
adjustment of the input channel level
from + 10dB to off.
4

MIDA S XL2504
MIDA S XL2504
+12
+15
-12
-25
0
+3
-3
+6
-6
+9
-9
mute
solo
ST
1
3
5
7
9
11
13
15
17
2
4
6
8
10
12
14
16
18
auto
mutes
8
7
2
1
6
5
4
3
SAFE
0
+6
0
+6
PREPRE
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
20
60 160
400
100
300 800
2k
EQ
EQ
treble
mid
60
25
15
40
high
pass
bass
right
left
-15
0
+15
-15
0
+15
-15
0
+15
O O
48V PA D
INSINS
gain
rl
c
bal
stereo
LR
10k
4k
1k5
500
X5
MIDAS XL2504
Stereo Input Module
5

MIDA S XL2504
20
60 160
400
100
300 800
2k
EQ
EQ
treble
mid
60
25
15
40
high
pass
bass
right
left
-15
0
+15
-15
0
+15
-15
0
+15
O O
48V PA D
gain
LR
10k
4k
1k5
500
X5
The PHASE switches activate a 180
degree phase change within the
corresponding input amplifier.
The dual concentric GAIN controls
give continuous adjustment of the
input amplifier gains from + 15dB to
+ 60dB. The left channel is on top
and the right channel is on the
bottom. The PAD switch gives 25dB of
attenuation in both input signals to
allow the connection of high output
microphones or line level signals. If
the input amplifiers are transformer
coupled (option) the pad greatly
reduces the risk of saturation at very
low frequencies.
The 48V switch connects 48 volt
phantom power to both input
connectors and is suitable for
condenser microphones or DI boxes.
The LEFT switch places the left
channel signal onto both left and
right channels. The RIGHT switch places the right
channel signal onto both left and
right channels. If the left and right
switches are both active a mono sum
signal is fed to both channels of the
input channel.
The TREBLE control gives
continuous adjustment of boost and
cut from + 15dB to - 15dB with a
0dB centre detent. The frequency is
fixed at 10K. The MID control gives continuous
adjustment of boost and cut from +
15dB to - 15dB with a 0dB centre
detent.
The mid FREQ. control gives
continuous adjustment of the
frequency range that the mid
equaliser acts on from 100Hz to 2K. The WIDTH control selects the
bandwidth of the mid equaliser to be
1.5 octave or 0.3 octave.
The FREQ. X 5 control increases the
mid equaliser frequency so that it
operates between 500Hz and 10K. The BASS control gives continuous
adjustment of boost and cut from +
15dB to - 15dB with a 0dB centre
detent. The frequency is fixed at
100Hz.
The EQ switches connect the
equalisers in or out of the input
channel signal paths.
The HI PASS filter control is
continuously adjustable from 20Hz
to 400Hz. The HI PASS switch connects the
filters in the input channel signal
path before the insert points.
6

1
3
5
7
9
11
13
15
17
2
4
6
8
10
12
14
16
18
0
+6
0
+6
PREPRE
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
+6 +6
0
PREPRE
0
INSINS
The INS switches connects the input
insert return signal to the input
channel signal path. The insert point
is pre equaliser .
The mono aux MIX controls (1 and
2) give continuous adjustment of the
level sent from the input channel to
the aux busses. The signal is a mono
sum of left and right and the level
adjustment is from + 6dB to off. The
level controls incorporate an
ON/OFF switch by way of a non
latching push/push action. Status is
indicated by a LED.
The aux PRE switches change the
signal sent to the aux busses from
post fader to pre fader .
The configurable group MIX
controls (3 to 18) give continuous
adjustment of the levels sent from
the input channel to the group
busses. The adjustment is from +
6dB to off. They can be configured
as mono or stereo on a bus by bus
basis and are controlled from the
global STEREO switches on the
GROUP modules. When configured
as stereo the left controls send left
channel signals and the right
controls send right channel signals.
When configured as mono the left
and right controls give independent
level adjustments and derive their
signal from a mono sum of left and
right. These controls incorporate an
ON/OFF switch by way of a non
latching push/push action. Status is
indicated by a LED
The group PRE switches change the
signals sent to the group busses from
post fader to pre fader .
7

MIDAS XL2504
+12
+15
-12
-25
0
+3
-3
+6
-6
+9
-9
mute
solo
ST
auto
mutes
8
7
2
1
6
5
4
3
SAFE
rl
c
bal
stereo
The BALANCE (pan) control is
used to balance the relative levels of
the left and right channel signals
that are sent to the master stereo
mix. The control has a constant
power law, i.e. 0dB at the centre
position and + 3dB or off at either
extreme setting.
The ST switch connects the post
fader channel signals to the master
stereo bus via the balance control.
The AUTO MUTE switches assign
the channel to the 8 auto mute
groups.
The SAFE switches disconnect the
channel mutes from the auto mute
busses.
The MUTE switch mutes the input
channel at all points except the insert
send.
The SOLO switch sends the input
channel signals to the PFL mono and
AFL stereo busses. If the switch is
pressed for a short time it will latch
on or off, but, if it is held on for more
than 1 second the latching is disabled
and when the switch is released the
channel solo will turn off. As a
default the solo system is auto
cancelling so each new solo cancels
the last. This function is time
dependant which allows several solos
to be active as long as they are
switched on at approximately the
same time. The SOLO ADD MODE
switch on the COMMS module
defeats the auto cancelling and
allows multiple channel monitoring.
In this mode input solos have priority
over outputs and will temporarily
override any active output solos.
The METER monitors the peak
signal level of the channel pre fader
left and right inputs (which ever is
the heighest).
The FADER gives continuous
adjustment of the input channel
levels from + 10dB to off.
8

XL2511
mute
solo
mute
solo
8
7
2
1
6
5
4
3
SAFE
8
7
2
1
6
5
4
3
SAFE SAFE
MIDA S
MIDA S
mute
solo
mute
solo
ON solo c/o
solo c/o ON
ON solo c/o
solo c/o ON
stereo
8
7
2
1
6
5
4
3
SAFE
u
s
e
12
11 12
a
u
o8
7
2
1
6
5
4
3
INS INS
INS INS
XL2511
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
12
11 12
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
1
11
2
12
21
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
XL2512
mute
solo
mute
solo
8
7
2
1
6
5
4
3
SAFE
8
7
2
1
6
5
4
3
SAFE SAFE
MIDA S
MIDA S
mute
solo
mute
solo
ON solo c/o
solo c/o ON
ON solo c/o
solo c/o ON
stereo
8
7
2
1
6
5
4
3
SAFE
34
13 14
a
u
o8
7
2
1
6
5
4
3
INS INS
INS INS
XL2512
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
34
13 14
u
s
e
stereo
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
3
13
4
14
43
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
stereo
XL2513
mute
solo
mute
solo
8
7
2
1
6
5
4
3
SAFE
8
7
2
1
6
5
4
3
SAFE SAFE
MIDA S
MIDA S
mute
solo
mute
solo
ON solo c/o
solo c/o ON
ON solo c/o
solo c/o ON
stereo
8
7
2
1
6
5
4
3
SAFE
56
15 16
a
u
o8
7
2
1
6
5
4
3
INS INS
INS INS
XL2513
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
56
15 16
stereo
u
s
e
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
5
15
6
16
65
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
stereo
XL2514
mute
solo
mute
solo
8
7
2
1
6
5
4
3
SAFE
8
7
2
1
6
5
4
3
SAFE SAFE
MIDA S
MIDA S
mute
solo
mute
solo
ON solo c/o
solo c/o ON
ON solo c/o
solo c/o ON
stereo
8
7
2
1
6
5
4
3
SAFE
78
17 18
a
u
o8
7
2
1
6
5
4
3
INS INS
INS INS
XL2514
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
78
17 18
stereo
u
s
e
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
7
17
8
18
87
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
stereo
XL2515
mute
solo
mute
solo
8
7
2
1
6
5
4
3
SAFE
8
7
2
1
6
5
4
3
SAFE SAFE
MIDA S
MIDA S
mute
solo
mute
solo
ON solo c/o
solo c/o ON
ON solo c/o
solo c/o ON
8
7
2
1
6
5
4
3
SAFE
910
LR
a
u
o8
7
2
1
6
5
4
3
INS INS
INS INS
XL2515
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
910
+10
0
PRE
direct
+10
0
PRE
direct
LR
stereo
stereo
master
u
s
e
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
9
L
10
R
109
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
MIDAS XL2517
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
11 12
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
13 14
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
15 16
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
17 18
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
LR
MIDAS
XL2511
XL2512
XL2513
XL2514
XL2515
Group
Output
Modules
9

MIDAS
stereo
XL2511
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
ST
+10
0
l
C
r
PRE
direct
12
11 12
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
+21
+18
+15
+12
+9
+6
+3
0
-3
-6
-9
-12
-15
-18
-21
-24
-27
-30
-33
-36
1
11
2
12
The METERS monitor the peak
signal levels of the mix group
outputs (post fader).
The global STEREO switches
configure input module MIX
controls to act as either mono level
and level or as stereo level and pan.
This makes the console extremely
flexible and quick to reconfigure.
The first two mixes are permanently
configured as mono auxes and do
not require a stereo switch. The last
two mixes are also fixed being the
master stereo mix.
The DIRECT input controls give
continuous adjustment of the direct
input levels from + 10dB to off. The
direct signals are summed into the
mix group signals and can be used as
effects returns etc. or for console bus
linking. The direct inputs can be
accessed by the mix group solos if
the SOLO C/O switches are on.
The direct PRE switches move the
point at which the direct signals are
summed into the mix groups. The
default is post insert. This allows the
insert points to be used as an effects
sends with the direct inputs
performing effects return functions
with level and solo controls (This
will require "Y" splits in the cabling
if the insert points are being used to
add equalisation etc.). If the PRE
switches are active the direct signals
are summed onto the mix busses
(pre insert). With this configuration
the direct inputs can be used to
return effects, add ambience
microphones (with a suitable
preamplifier) or facilitate console
bus linking.
The PAN controls allow stereo
placement of any mixes which are
being used as sub groups feeding the
master stereo mix. These have a
constant power law i.e. - 3dB at the
centre position.
The ST switches connect the post
fader mix group signals to the master
stereo busses via the pan controls.
(The master stereo mix does not have
the ST switches and PAN controls).
10

XL2511
mute
solo
mute
solo
8
7
2
1
6
5
4
3
SAFE
8
7
2
1
6
5
4
3
SAFE SAFE
MIDAS
mute
solo
mute
solo
ON solo c/o
solo c/o ON
ON solo c/o
solo c/o ON
8
7
2
1
6
5
4
3
SAFE
u
s
e
12
11 12
a
u
o8
7
2
1
6
5
4
3
INS INS
INS INS
21
dB
10
10
5
5
0
20
15
30
40
dB
10
10
5
5
0
20
15
30
40
The AUTO MUTE switches assign
the mix outputs to the 8 auto mute
groups.
The SAFE switches disconnect the
channel mutes from the auto mute
busses.
The INS switches connect the mix
insert return signals to the mix
groups.
The MUTE switches mute the mix
groups at all points except the insert
send.
The SOLO switches send mix group
signals to the PFL mono and AFL
stereo busses (AFL is selected as
stereo or mono depending on the
global STEREO switch setting). If a
SOLO switch is pressed for a short
time it will latch on or off, but, if it
is held on for more than 1 second
the latching is disabled and when the
switch is released the channel solo
will turn off. As a default the solo
system is auto cancelling so each
new solo cancels the last. This
function is time dependant which
allows several solos to be active as
long as they are switched on at
approximately the same time, i.e. to
solo both sides of a stereo mix press
both solo switches at the same time.
Alternatively the SOLO ADD
MODE switch on the COMMS
module can be used to defeat the
auto cancelling and allow multiple
channel monitoring. In this mode
input channel solos have priority
over the mix group solos and will
temporarily override them. When
the input solos are cancelled the mix
group solos will be active again.
The SOLO C/O switches move the
solo switch functions so that they act
on the group direct inputs.
The GROUP FADERS give
continuous adjustment of the mix
output levels from + 10dB to off.
11