Midas PRO 1 Installation guide

Introducing the PRO1
The PRO1 breaks new ground for MIDAS
digital consoles, featuring an all-new,
lightweight aluminium frame, PRO1 is the
rst stand-alone MIDAS digital console,
and sets new standards of portability and
performance for a“compact” digital console.
PRO1 is easy to congure and operate.
Engineers who are new to MIDAS digital can
relax, enjoy the PRO1’s sample-synchronous
audio quality, and mix from well within their
comfort zone.
Engineers familiar with MIDAS can just load
their existing showle straight into the PRO1,
regardless of which MIDAS digital console it
was created on, and carry on working.
In addition to the PRO1’s 40 primary input
channels, it features 8 aux returns, all of
which feature 4-band MIDAS parametric EQ
and insert points. These 8 aux returns can
be used as returns for the PRO1’s internal FX
processors, or as additional mic channels,
if enough mic inputs are available on the
network I/O hardware.
A total of 48 input channels have routing to
27 mix busses. These busses comprise 16
user-congurable aux busses, which can be
mixes, subgroups or mix minus groups, and
8 matrix busses. The Matrix busses source
from inputs, as well as groups, and so can
be used as 8 additional auxes (monitor mix
and FX sends) which provides a total of 24
mixes (plus L, R & Mono) for monitor mixing
duties. All busses can be linked as stereo pairs
(except the MONO buss).
As with all MIDAS digital consoles the audio
paths can be routed to multiple destinations
and the console format can be recongured
live on a scene-by-scene basis.

Daylight Viewable Display Screen
Assignable Controls
24 x Analogue MMic/Line Inputs
with MIDAS Mic Pre’s
2 x AES3 Inputs
3 x AES3 Outputs
Local Monitor B L&R
100mm Motorised Faders
Talk Mic Input
Multiple Clocking Options

Equalisation
GLOBAL TAP-TEMPO Button
Six POP Groups
Eight VCAs
Navigation Modes
Fader EXTEND Button
Removable Power Supply
16 x Analogue Outputs
USB
Ethernet Control
DVI Video Out
Dynamics Processing
Input Gains
Detail Strip
3 x AES50 Ports
Local Monitor A L&R
Left, Right and Mono Master Outputs
Talk Output

Display Screen
The high-resolution screen remains visible even
in direct sunlight. In this aspect, the PRO1’s visual
support is exceptional, as most conventional
consoles become dicult, or impossible to
operate in high ambient lighting.
Visual feedback for the entire system is provided
by the screen. Pressing the HOME key (just to the
left of the assignable controls) instantly displays
the console overview screen, which keeps all
vital information (all metering, all fader positions,
mutes and solos) in view at all times.
Equalisation
MIDAS digital EQ features fully interpolated
controls, which re-create the original phase-shift
as experienced when working on the Worlds’
best-loved analogue consoles. Each input channel
has 4-band parametric EQ, with a choice of four
dierent lter types for both the high and low
lters. These powerful EQ options enable the
user to employ EQ lters which emulate the
sound of historic MIDAS consoles, or, freed of the
limitations of analogue circuitry, choose advanced
digital lter types.
Detail Panel Area
The detail panel is a vertically oriented channel
strip, with an almost identical layout to the
PRO2, 3, 6 and 9. The controls are congured in
a logical, signal-path sequence and are easily
identied by their relative positions. Both
analogue users and digital adopters will nd no
diculty using the large multi-colour LCD channel
select buttons for navigating the console.
Dynamics Processing
The dynamics processing on the PRO1’s input
channels is identical to the much-acclaimed
MIDAS XL8. Each input channel features a
frequency-conscious gate and a choice from four
dierent compressor algorithms. Further creative
expression is available, as all four compressor
options feature variable knee, internal and
external sidechain ltering, and colouration
artefact options. Output (buss) compression
oers a choice of ve dierent options.
These compression algorithms are designed
to provide the engineer with a broad pallet of
options for maximum creative potential, right
down to the visual display on the screen changing
to support the dierent styles. More dynamics
processing options are available in the PRO1’s
FX rack, including multiband compression and
dynamic equalisation.
Input Gains
The PRO1 features two input gains per channel.
First is the remote analogue gain for that
wonderful MIDAS mic amp, the second is a
digital gain. Set the analogue gain for the desired
amount (if any) of that famous MIDAS “warmth”,
then use the digital gain to trim to your preferred
gain structure.

Navigating the channels
The concept of“paging”or “layering” is eliminated;
instead the operator is invited to create groups
of mix or musically related channels, which
are structured around the process of mixing
the show. This is preferable to locating target
channels from arbitrary “layers” or “pages”which
have no logical delineation and often start and
end at inconvenient points (i.e. half-way through
a logical sequence of inputs).
There are two types of groupings available on
PRO1, VCA (Variable Control Associations) and
POPulation groups. These groups are identied
using colour coding and labelling with supported
from the full-colour daylight-visible TFT screen.
Selecting a VCA or POP group will bring all of the
members of that group to the designated area on
the control surface, populating from the VCA area
out to the left. If the group has more members
than the 8 physical input channels they can be
viewed either by scrolling the input faders or by
pressing the EXTEND button, which will populate
the 8 VCA faders with additional members of that
group giving a total of 16 input faders.
An operator used to“layers” of faders can
programme the POPulation groups to mimic this
way of operation, so navigating between 3 layers
of 16 input faders to access the PRO1’s 48 input
channels is easily achieved.
Automation
One of the most critical requirements for theatre
applications is the power and exibility of console
automation. The MIDAS PRO1 has taken into
consideration these very specic requirements,
and features the same automation software as the
XL8, which is itself no stranger to Broadway!
The PRO1’s automation system can store and
recall up to 1000 snap shot scenes. These contain
the audio parameter values for every control
on the console as well as the network routing,
conguration of the FX rack, and the format of the
mixer itself, all of which is scene-specic.
Hardware automation “safe” buttons are provided
to enable the operator to quickly isolate selected
processing areas from recall should this be
required during a performance. In addition to
these, the store and recall of scenes can
be “scoped”such that only the areas that the
operator wants to store or recall are aected (all
other controls remaining in their current state).
Channel settings can be edited in advance
of recall (across all scenes) from the SHOW
EDITOR screen, and scenes can be re-ordered,
inserted and deleted, simply and quickly without
overwriting their designation. Scenes can be
recalled instantaneously, with no discernible
drop in audio, or via complex crossfade options,
including programmable surround-sound
panning events.
MIDI input and outputs are provided, for control
of external MIDI devices, or for recalling console
events from an external MIDI source. All software
versions (including stored shows on a USB stick)
are both forward and backward compatible i.e. a
show created on one PRO1 can be loaded into a
console (via a USB stick) regardless of the software
version on either system. PRO1 showles are also
compatible with all other MIDAS digital console
systems.
Navigation Mode
When a MIX SELECT button is engaged, the
input faders ip to become the input channel
contributions to that selected output.
When the GEQ SELECT button is engaged,
selecting an output which has a GEQ assigned,
will present the GEQ on the VCA faders. Scrolling
the VCA faders left or 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.
COLLAPSED FLIP (Hide/show unassigned channels
when ipped) When in this mode, the console will
only be populated with the input channels which
are assigned to the selected output.

Assignable Controls
Between the screen and the fader bank are the 8
assignable rotaries and buttons. These controls
are scrolled using the vertical arrow keys, and
address the function of all primary rotary and
switch functions on the channels populating this
area of the console. The ALT button selects the
alternative function (if one is available) for each
area. Assignable rotaries can be used for input
gain, compressor and gate threshold, aux send
levels, pan.
Surround Sound
In addition to normal stereo and SIS operation, the
PRO1 can operate in one of three surround sound
modes:
Quad Four-channel L-R front plus L-R rear
LCRS Four-channel L-C-R plus single rear channel
5.1 Six-channel L-C-R plus Sub plus L-R rear
All three surround modes feature divergence con-
trol to tailor the depth of the surround panning.
Dynamic surround panning can be implemented
using the PRO1’s trackball, or the USB pointing
device of your choice.
FX
The PRO1’s 40 bit oating-point audio processing
hosts a wide choice of virtual FX devices,
which range from dual-stereo delay units,
stereo modulation and many diverse reverb
FX, multiband compression, dynamic EQ and
multichannel dual-function dynamics processing.
All FX processors are custom-designed to
function within the MIDAS automatic latency
compensation system. This ensures a phase-
coherent sample-accurate mix regardless of
whether the FX devices are used as channel
inserts or on a send-and-return basis.
Delay FX can be individually congured to
synchronise to the PRO1’s GLOBAL TAP-TEMPO
hardware button. This makes on-the-y changes
to delay eects childs’play.
Remote Control
Remote control of the PRO1 can be achieved
using an iPad and wireless access point. Install the
PRO1 remote app on the iPad and connect the
WAP to the PRO1’s Ethernet control port, having
congured the wireless link.
I/O Options
The PRO1 is MIDAS’rst stand-alone digital
console with 24 inputs located on the rear panel.
However there are a number of optional MIDAS
digital I/O units – either with xed or modular
congurations - which can be connected by
inexpensive Cat5-e cable that will expand the
input count to 48. To further increase exibility
a number of I/O boxes can be connected to the
PRO1, up to 100m (300ft) cable distance from the
console, allowing audio point-to-point routing
of up to 100 inputs x 102 outputs from anywhere
within the Network.
Oine Editor
The MIDAS Oine Editor will create, edit and
view show les for a PRO1 on any Intel-based
Apple Mac computer. The Oine Editor allows
full control of all parameters – including creation
of show les, management of pre-set libraries,
system setup and patching and so on. Anything
that can be done on the console can be done
on the Oine Editor, without learning any new
operational procedures.

Architect’s and Engineer’s Specication
The PRO1 standard package comprises of:-
27 Buss Console (plus 4 solo),
48 main input channels (or 40 input and 8 aux return)
24 XLR mic/line inputs
24 XLR line outputs
2 AES/EBU inputs
3 AES/EBU outputs
1 Console ight case (TP version only)
The system shall be congurable to meet all of its I/O, processing and control
surface requirements within an easily portable solution that is fast to set up.
The system shall be expandable and capable of sourcing inputs and driving
outputs from multiple locations so that for example all inputs can source
their signal from a hard disk recorder for sound checking but switch over to
microphone feeds for the main live show event.
The system shall be capable of mixing 40 primary input channels and 8
auxiliary input channels simultaneously to 24 main buss output channels,
with equalisation every channel and dynamic processing on all outputs and
primary input channels. 6 eects processors shall be included that can be
inserted into any channel path with the ability to add additional external
insert points to any of the channels, as desired.
The available audio processing shall include:
Primary Input Channel Functions:-
Input Channel Hi Pass 10 Hz to 400 Hz swept slope selectable
12 dB/Oct or 24 dB/Oct
Input Channel Lo Pass 2 kHz to 20 kHz swept slope selectable
6 dB/Oct or12 dB/Oct
Input Channel Treble Parametric Operation
Frequency 1 kHz to 25 kHz swept
Gain +16 dB to -16 dB
BW 0.1 Oct to 3 Oct
Shelf Operation
Frequency 1 kHz to 25 kHz swept
Gain +16 dB to -16 dB
Soft, Classic or Bright
(minimum harmonic disruption) curves
Input Channel Hi Mid Parametric Operation
Frequency 320 Hz to 8 kHz swept
Gain +16 dB to -16 dB
BW 0.1 Oct to 3 Oct
Input Channel Lo Mid Parametric Operation
Frequency 80 Hz to 2 kHz swept
Gain +16 dB to -16 dB
BW 0.1 Oct to 3 Oct
Input Channel Bass Parametric Operation
Frequency 16 Hz to 400 Hz swept
Gain +16 dB to -16 dB
BW 0.1 Oct to 3 Oct
Shelf Operation
Frequency 16 Hz to 400 Hz swept
Gain +16 dB to -16 dB
Warm, Classic or Deep
(minimum harmonic disruption) curves
Input Channel Compressor Peak, Linear, RMS, Vintage modes
Thresh -50 dBu to +20 dBu
Attack 200 uS to 20 mS
Release 50 mS to 3 Sec
Ratio 25:1 to 1:1
Knee 4 dB, 12 dB or 40 dB
Gain 0 dB to +24 dB
Side chain source selectable + lter
Frequency 50 Hz to 15 kHz swept
Bandwidth 1/3, 1 or 2 Oct
Input Channel Gate Peak mode
Thresh -50 dBu to +20 dBu
Attack 10 uS to 20 mS
Hold 5 mS to 2 Sec
Release 2 mS to 2 Sec
Range 100 dB to 0 dB
Side chain source selectable + lter
Frequency 50 Hz to 15 kHz swept
Bandwidth 1/3, 1 or 2 Oct
Auxiliary Input Channel Functions:-
Aux Channel Band 6 Parametric Operation
Frequency 16 Hz to 25 kHz swept
Gain +16 dB to -16 dB
BW 0.1 Oct to 3 Oct
Lo Pass Operation
Frequency 16 Hz to 25 kHz swept
Slope 6 dB/Oct or 12 dB/Oct
Shelf Operation
Frequency 16 Hz to 25 kHz swept
Gain +16 dB to -16 dB
Mode soft curve
Aux Channel bands 3,4,5 Parametric Operation
Frequency 16 Hz to 25 kHz swept
Gain +16 dB to -16 dB
BW 0.1 Oct to 3 Oct
Aux Channel Band 2 Parametric Operation
Frequency 16 Hz to 25 kHz swept
Gain +16 dB to –16 dB
BW 0.1 Oct to 3 Oct
Hi Pass Operation
Frequency 16 Hz to 25 kHz swept
Slope 24 dB/Oct
Aux Channel Band 1 Parametric Operation
Frequency 16 Hz to 25 kHz swept
Gain +16 dB to -16 dB.
BW 0.1 Oct to 3 Oct
Hi Pass Operation.
Frequency 16 Hz to 25 kHz swept
Slope 6 dB/Oct or 12 dB/Oct.
Shelf Operation
Frequency 16 Hz to 25 kHz swept
Gain +16 dB to -16 dB
Mode soft curve
Output Channel Functions:-
Output Channel Band 6 Parametric Operation
Frequency 16 Hz to 25 kHz swept
Gain +16 dB to -16dB
BW 0.1 Oct to 3 Oct
Lo Pass Operation
Frequency 16 Hz to 25 kHz swept
Slope 6 dB/Oct or 12 dB/Oct
Shelf Operation
Frequency 16 Hz to 25 kHz swept
Gain +16 dB to -16 dB
Mode soft curve
Output Channel bands 3,4,5 Parametric Operation
Frequency 16Hz to 25kHz swept
Gain +16dB to –16dB
BW 0.1 Oct to 3 Oct
Output Channel Band 2 Parametric Operation
Frequency 16 Hz to 25 kHz swept
Gain +16 dB to -16 dB
BW 0.1 Oct to 3 Oct
Hi Pass Operation
Frequency 16 Hz to 25 kHz swept
Slope 24 dB/Oct
Output Channel Band 1 Parametric Operatio
Frequency 16 Hz to 25 kHz swept
Gain +16 dB to -16 dB
BW 0.1 Oct to 3 Oct
Hi Pass Operation.
Frequency 16 Hz to 25 kHz swept
Slope 6 dB/Oct or 12 dB/Oct.
Shelf Operation
Frequency 16 Hz to 25 kHz swept
Gain +16 dB to -16 dB
Mode soft curve
Output Channel GEQ 8 available in place of PEQ (above)
31 Bands. 1/3 Oct. Proportional Q
Lo Pass Frequency 2 kHz to 20 kHz swept
Slope 6 dB/Oct or 12 dB/Oct
Hi Pass Frequency 20 Hz to 500 Hz swept
Slope 6 dB/Oct or 12 dB/Oct
Output Channel Dynamic Pk, Linear, RMS, Vintage, Shimmer modes
Thresh -50 dBu to +20 dBu
Attack 200 uS to 20 mS
Release 50 mS to 3 Sec
Ratio 25:1 to 1:1
Knee 4 dB, 12 dB or 40 dB
Gain 0 dB to +24 dB
Side chain source selectable + lter
Frequency 50 Hz to 15 kHz swept
Bandwidth 1/3, 1 or 2 Oct
Eects Channel Functions:-
Eects Channel 16 available congurable as
Stereo or mono in, stereo out
Modulated delay eects
Complex delay, reverbs
Advanced dynamics

© 2012 MUSIC Group IP Ltd. Technical specications and appearances are subject to change without notice and accuracy is not guaranteed. All trademarks are the property of their respective owners.
MIDAS and KLARK TEKNIK are part of the MUSIC Group (music-group.com).
Midas, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ. England.
Tel: [phone] Fax: [phone] midasconsoles.com
DOC05-PRO1-30-05-2012
722,14
153,50
R32,00
R128,00
R40,00
R13,58
R99,86
288,75
32,00
64,00 194,07
15,00°
419,93
335,76
275,24
584,00
685,19
49,20
581,00
351,60
318,30
581,00
685,20
UNIT CONSOLE WEIGHT 21.5kG
PRO1 Conguration:
A 100 inputs x 102 outputs (max capacity) point-to-point
routing anywhere within the Network
A 24 mic/line inputs with MIDAS mic preamps
A 48 simultaneous input processing channels
A 24 analogue outputs
(including 2 stereo local monitor outputs)
A 3 AES3 outputs
A 2 AES3 inputs
A 27 sample-synchronous, phase-coherent mix busses
A Up to 12 multi-channel FX engines
A Up to 28 KLARK TEKNIK DN370 31-band Graphic EQs
A Full-colour 15” daylight-viewable display screen
A 8 VCA (Variable Control Association) groups
A 6 POPulation groups
A 96 kHz 40-bit oating-point processing throughout
Additional I/O Unit Options:
A DL431 24 in 5 way split: xed conguration I/O
A DL251 48 in / 16 out xed conguration I/O
A DL252 16 in / 48 out xed conguration I/O
A DL351 Up to 64 in / 64 out congurable I/O (8 card slots)
A DL451 Up to 24 in / 24 out congurable I/O (3 card slots)
PRO1 Control Centre Weight and Dimensions:
A Width 685.20 mm (26.98”)
Depth 722.14mm (28.43”)
A Weight: 21.5kg (47.5lbs)
*weights are approximate and out of ight case
Accessories:
A KLARK TEKNIK DN9331 Rapide Graphic Controller
A KLARK TEKNIK DN9696 96 track
High Resolution Audio Recorder
A KLARK TEKNIK DN9650 Network Bridge
(MADI, Dante, Aviom, Ethersound, CobraNet)