Midas VERONA User manual

Mono Input Channel
Operators Manual - Page 7

line L
PUSH
insert
mic
line
in
direct
out
(stereo only)
line in left
line in right
51
Mono Input ChannelsMono Input Channels
The Verona channel inputs are located on the rear of the console.
Each mono channel provides
one line in quarter-inch TRS balanced jack socket
The insert point is unbalanced and requires a conventionally wired insert lead where:
one insert point on a single TRS jack socket.
one direct output on a single impedance balanced quarter-inch jack socket
one mic XLR female
- Channel Signal Send
- Channel Signal Return
- Signal Common Ground
The direct out and insert points operate at a nominal level of 0dBu.
Balanced XLR and Jack inputs are conventionally wired:
- 1. Screen - 2. Hot Signal - 3. Cold Signal
- T. Hot Signal - R. Cold Signal - S. Screen
: Direct outputs as standard are set post EQ pre mute, however there is an
internal jumper which will set them pre EQ and pre insert
Tip
Ring
Sleeve
XLR
TRS
Note
(refer to the service manual
or contact your authorised Midas service agent).
ins
mic gain
+30 +45
+60+15
mic
padpower
48v -15
O
20
60 160
400
hi-pass
Front Panel
The actual number of mono input channels on your Verona will depend upon your choice of frame, however functionality
remains the same
Rear Panel
48V Power - When depressed, the Verona
will apply 48 volts phantom power to the
microphone input. This is used to power
condenser microphones, direct inject boxes
and other devices that require phantom
power.
The red phantom LED will light to indicate
that 48V phantom is in operation.
-15dB Pad - The Pad switch provides 15dB
attenuation to the input signal allowing for
the connection of high output microphones
and line level signals without overloading
the channel input amplifier. Overloads are
indicated on the in-channel meter by the
red LED at the top.
Mic Gain - The mic gain is continuously
variable from +15dB to +60dB (0dB to
+45dB with the Pad enabled). The actual
value of the gain required will depend upon
the source and should ideally be set such
that peaks in level on the input should not
cause the input amplifier to overload
(occasional peaks of +12dB is okay, +18dB
is too high).
Mic Ø - The mic phase switch, when
depressed, causes a 180 degree phase
change (with respect to the input signal) to
occur in the input amplifier such that the
channel signal will have opposite polarity to
the input signal.
The mic phase switch is commonly needed
where two microphones are used facing
each other (for example when using a
microphone on both the top and bottom of a
snare drum). Ordinarily the two
microphones would be out of phase causing
cancellation when the console sums the two
signals into the output. Reversing the phase
of one signal causes the microphones to
have the same phase and no cancellation.
Ins - The ins switch enables the channel
insert point by connecting the insert return
to the channel signal path so that
compressors, gates or other dynamic and
signal processors or effects can be used.
Hi-Pass - The high pass switch enables
high pass filter on the microphone input.
This is commonly used to remove handling
noise, bass rumble through coupling with
the stage or mains hum.
High Pass Frequency - The cutoff
frequency of the high pass filter is
continuously variable from 20Hz to 400Hz.
Operators Manual - Page 8
ins
MIDAS
mic gain
100
300 1k
2k
20
50 100
200
400
3k
8k
1k
2k
5k 10k
20k
20
60 160
400
-15 +15
-15 +15
-15 +15
-15 +15
+30 +45
+60+15
mic
padpower
48v -15
eq
on
0
0
0
0
0
0
0
0
+6
+6
+6
+6
+6
+6
+6
+6
eq
aux pre
off
treble
hi-mid
lo-mid
bass
hi-pass
pan
c
lr
groups master
pan s i s
-18
0
12
18
mute 1
mute 2
mute 3
mute 4
aux 1
aux 2
aux 3
aux 4
aux 8
mono
groups
stereo
1-2
5-6
7-8
3-4
pre
pre
aux 7
aux 6
aux 5
O
10
10
5
5
0
20
15
30
40
SOLO
MUTE

Channel Equalisation
Each mono input channel of the Verona has a four (4) band sweep EQ
allowing tonal control over the input signal.
- The gain of the treble equaliser is continuously variable from -15dB to +15dB with
a centre detent at 0dB.
- The centre frequency of the treble equaliser is continuously variable from
2kHz to 20kHz.
- The gain of the hi-mid equaliser is continuously variable from -15dB to +15dB
with a centre detent at 0dB.
- The centre frequency of the hi-mid equaliser is continuously variable from
400Hz to 8kHz.
- The centre frequency of the lo-mid equaliser is continuously variable from
100Hz to 2kHz.
- The gain of the lo-mid equaliser is continuously variable from -15dB to +15dB
with a centre detent at 0dB.
- The centre frequency of the bass equaliser is continuously variable from 20Hz
to 200Hz.
- The gain of the bass equaliser is continuously variable from -15dB to +15dB with a
centre detent at 0dB.
- The Equaliser can be enabled by depressing the EQ On switch. Otherwise changes on the
Equaliser controls have no effect. This can be used to compare the sound with and without EQ
during sound check.
- If desired, the channel signal can be sent to the auxiliary outputs without
equalisation. Depressing the EQ Off (Aux Pre) switch causes pre-fader auxiliary sends 1-6 to be
sourced before the channel equaliser (Pre-EQ) as the factory standard. However aux sends 7-8 can be linked to
the pre EQ off switch, as well as 1-6, via an internal jumper (refer to the service manual or contact your
authorised Midas service agent). Note: Post fader sends are always Post EQ.
Treble (Gain)
Treble (frequency)
Hi-Mid (Gain)
Hi-Mid (frequency)
Lo-Mid (frequency)
Lo-Mid (Gain)
Bass (frequency)
Bass (Gain)
EQ On
EQ Off (aux pre)
20
50 100
200
-15 +15
eq
on
eq
aux pre
off
bass
100
300 1k
2k
400
3k
8k
1k
-15 +15
-15 +15
hi-mid
lo-mid
Operators Manual - Page 9
5k 10k
-15 +15
treble
Mono Input ChannelsMono Input Channels
ins
MIDAS
mic gain
100
300 1k
2k
20
50 100
200
400
3k
8k
1k
2k
5k 10k
20k
20
60 160
400
-15 +15
-15 +15
-15 +15
-15 +15
+30 +45
+60+15
mic
padpower
48v -15
eq
on
0
0
0
0
0
0
0
0
+6
+6
+6
+6
+6
+6
+6
+6
eq
aux pre
off
treble
hi-mid
lo-mid
bass
hi-pass
pan
c
lr
groups master
pan s i s
-18
0
12
18
mute 1
mute 2
mute 3
mute 4
aux 1
aux 2
aux 3
aux 4
aux 8
mono
groups
stereo
1-2
5-6
7-8
3-4
pre
pre
aux 7
aux 6
aux 5
O
10
10
5
5
0
20
15
30
40
SOLO
MUTE

Auxiliary Outputs
The Verona has 8 auxiliary outputs which can be used for effects sends,
monitors or as extra assignable outputs from the console.
auxiliary (aux) sends are sourced after the channel Insert,
Mute and EQ but before the channel fader (and EQ if the Aux Pre EQ
switch is depressed). As a result, the actual level sent to the aux buss is proportional to the aux send control only.
aux sends are sourced after the channel Insert, Mute, EQ and channel Fader. As a result, the actual
level sent to the aux buss is proportional to the aux send control AND the channel fader.
Typical uses of auxiliaries are:
Stage Monitors Pre (Post-EQ) The level in the monitor stays constant so that
the engineer can change the FOH level without
affecting the performer.
Effects Sends Post The level sent to the effects is proportional to the
level on the fader so the balance between wet
(processed) and dry (un-processed) sound
stays the same even when the channel level is
changed
Multi Track Recording Pre (Pre-EQ) The recording is made at constant level without
or Monitors from FOH any equalisation so that changes in the mix level
and EQ can be set in post-production. (You can
also use the Direct Out for this but the output will
be at unity).
Mixed Recording Post(Post-EQ) If the aux is set to unity, the FOH mix is
(for the artist) replicated on the aux output including EQ but
excluding PAN
Aux sends 1 through 6 are globally switched Pre or Post Fader. However, Aux 7 and 8 may be
individually sourced either Post Fader or Pre Fader using the selector switch on the channel and
can not be set pre-EQ. However aux sends 7-8 can be linked to the pre EQ off switch, as well as 1-
6, via an internal jumper (refer to the service manual or contact your authorised Midas service
agent).
Please note that, for illustration purposes, auxiliary 1 through 5 sends have been omitted but work
in the same manner as auxiliary 6 (illustrated).
- The auxiliary send level is continuously variable from off (-inf) to +6dB.
- Auxiliary 7 and 8 sends are assignable Pre of Post fader. When depressed, the auxiliary is sources
pre-fader (i.e. the channel fader has no effect upon the level of the signal sent to the auxiliary).
Note: When a channel Mute is enabled, aux sends for the channel are also muted.
Pre-Fade
Post-Fade
Application Pre/Post Fade Reason
.
Aux Send Level
Aux 7/8 Pre
Operators Manual - Page 10
Mono Input ChannelsMono Input Channels
0
0
0
+6
+6
+6
aux 8
pre
pre
aux 7
aux 6
ins
MIDAS
mic gain
100
300 1k
2k
20
50 100
200
400
3k
8k
1k
2k
5k 10k
20k
20
60 160
400
-15 +15
-15 +15
-15 +15
-15 +15
+30 +45
+60+15
mic
padpower
48v -15
eq
on
0
0
0
0
0
0
0
0
+6
+6
+6
+6
+6
+6
+6
+6
eq
aux pre
off
treble
hi-mid
lo-mid
bass
hi-pass
pan
c
lr
groups master
pan s i s
-18
0
12
18
mute 1
mute 2
mute 3
mute 4
aux 1
aux 2
aux 3
aux 4
aux 8
mono
groups
stereo
1-2
5-6
7-8
3-4
pre
pre
aux 7
aux 6
aux 5
O
10
10
5
5
0
20
15
30
40
SOLO
MUTE

Pan and Routing
The Verona is a flexible mixing console with eight group buss outputs
plus stereo and mono outputs.
Signal can be routed to any of the eight group busses by depressing
the corresponding group select switch.
Group sends are post channel equalisation, mute and fader.
The group sends can be configured in either of two modes:-
1.
Each group is sent the same mono signal.
i.e. Selecting 1, 2 & 3 will send to each group equally.
2.
Each pair of groups behave as if they were stereo groups. The mono signal is positioned in a stereo field by
the pan control. The Left signal is routed to the odd numbered buss and the right to the even numbered
buss.
i.e. Selecting groups 1, 2 & 3 with pan hard left will result in signal being routed to groups 1 & 3 only.
Similarly, with pan hard right, signal will be sent only to group 2.
This configuration is made by depressing the ‘Groups Pan’ key for stereo group operation or released for mono
group mode.
This selection, however, is on a channel-by-channel basis and so some may be assigned to the groups as mono or
as stereo depending upon the desired usage.
For example:
Multitrack Recording Mono Inputs can be sent to a particular input on the multitrack recorder
without affecting the stereo image used at FOH.
Alternative/Delay Output Stereo The Group would behave in the same manner as the stereo
output allowing for separate levelcontrol but retaining the original
stereo image from FOH.
Groups
Pre-Pan (mono)
Post-Pan (stereo)
Application Config. Reason
pan
c
lr
groups master
pan s i s
mono
groups
stereo
1-2
5-6
7-8
3-4
MUTE
Operators Manual - Page 11
Mono Input ChannelsMono Input Channels
Group 1-8
Mono
Pan
Groups Pan
- Depressing the group switch
routes the channel signal to the group
busses as described above.
- Depressing the mono switch routes
the channel signal to the mono buss (post-
EQ, mute and fader).
- The pan control allows the channel
signal to be positioned in a stereo field when
routed to the stereo buss or when group
sends are configured to be stereo. The pan
control allows continuous adjustment of the
image from hard left, to hard right with a
centre detent and obeys a constant power
law (i.e. -3dB at the centre so that the
output power remains at unity).
- As described above the
Verona’s group sends may be configured by
depressing the ‘Groups Pan’ key for stereo
group operation or released for mono group
mode.
Stereo
Master SIS
- Depressing the stereo switch
routes the channel signal to the stereo
(main left and right) buss (post-EQ, pan,
mute and fader).
- The master SIS switch will
enable the spacial imaging system
whereby the channel pan control operates
in a different way. When panned hard left,
signal is routed to the stereo left output as
normal, similarly when panned hard right,
the signal is routed to the stereo right
output as normal. However, when panned
centre, the signal is routed ONLY to the
mono output creating a LCR (left-centre-
right) system instead of the normal LR
(left-right) system.
You may use SIS mode if using a centre
speaker for speech or solo instruments
while retaining the stereo for backing
vocals and instruments.
Mute - The mute switch mutes the channel
signal. Note that signal will still be sent to
the insert point and to the direct output.
The mute status of the channel is indicated
by the corresponding mute LED
ins
MIDAS
mic gain
100
300 1k
2k
20
50 100
200
400
3k
8k
1k
2k
5k 10k
20k
20
60 160
400
-15 +15
-15 +15
-15 +15
-15 +15
+30 +45
+60+15
mic
padpower
48v -15
eq
on
0
0
0
0
0
0
0
0
+6
+6
+6
+6
+6
+6
+6
+6
eq
aux pre
off
treble
hi-mid
lo-mid
bass
hi-pass
pan
c
lr
groups master
pan s i s
-18
0
12
18
mute 1
mute 2
mute 3
mute 4
aux 1
aux 2
aux 3
aux 4
aux 8
mono
groups
stereo
1-2
5-6
7-8
3-4
pre
pre
aux 7
aux 6
aux 5
O
10
10
5
5
0
20
15
30
40
SOLO
MUTE

Solo
Channel Fader
- When depressed, the channel signal
will be sent to the After Fade Listen (AFL)
stereo and Pre Fade Listen (PFL) mono
outputs. The solo LED indicator will
illuminate to show that the channel solo is
active.
The Left and Right Monitor and the PFL
console outputs can be used, for example,
when operating from within a booth to hear
selected solos and not the whole FOH mix.
Note: If Solo In Place is activated on the
console, any active input solos will replace
the master outputs completely until the solo
is removed.
- The channel fader allows
for continuous adjustment of the channel
level from off (-inf) to +10dB.
At 0dB, the output of the channel to the
Stereo, Mono and Group busses will be at
unity (i.e. no boost or cut in level from the
input).
4 LED Meter - Each input channel contains
in-channel monitoring allowing the user to
monitor the input signal without the need for
using the PFL.
The in-channel meter is especially useful
when setting the microphone gain of a
channel. Also, as the, meter is post-EQ, it is
possible to see the effect that the channel
equalisation has upon the level. It may be
necessary to turn the input gain down when
excessive EQ is used to prevent the channel
from overloading.
-18db - Signal Present
0dB - Normal Level
+12dB - High Level
+18dB - Overload (Peak)
Note: The LED meter and the direct output
are fed from the same source and are Post-
Insert and EQ but Pre-Fader and Mute. The
channel in-line meter and direct output are
unaffected by the channel mute or
automutes.
-18
0
12
18
mute 1
mute 2
mute 3
mute 4
10
10
5
5
0
20
15
30
40
SOLO
Operators Manual - Page 12
Mono Input ChannelsMono Input Channels
Mute 1,2,3 & 4
Channels Reason
- The Verona has four (4) automute busses that can be controlled from the centre section of the
console. To assign an input channel to an automute, switch in the desired mute switch.
Commonly, these are used to mute similar channels, for example:
Drum Mics Allows the engineer to mute the whole drum kit at once.
Choir Overheads Allows the engineer to quickly remove all choir mics at once
Orchestra Parts Allows the engineer to zone mics together (e.g. Brass, Strings,
etc.) and mute sections together if they were not playing.
Note that if any assigned automute or the channel mute is activated then the channel will be muted until all
assigned automutes and the channel mute are removed (i.e. the mutes work like a logical OR where any single or
combination of mutes will mute the channel output).
ins
MIDAS
mic gain
100
300 1k
2k
20
50 100
200
400
3k
8k
1k
2k
5k 10k
20k
20
60 160
400
-15 +15
-15 +15
-15 +15
-15 +15
+30 +45
+60+15
mic
padpower
48v -15
eq
on
0
0
0
0
0
0
0
0
+6
+6
+6
+6
+6
+6
+6
+6
eq
aux pre
off
treble
hi-mid
lo-mid
bass
hi-pass
pan
c
lr
groups master
pan s i s
-18
0
12
18
mute 1
mute 2
mute 3
mute 4
aux 1
aux 2
aux 3
aux 4
aux 8
mono
groups
stereo
1-2
5-6
7-8
3-4
pre
pre
aux 7
aux 6
aux 5
O
10
10
5
5
0
20
15
30
40
SOLO
MUTE