Midas PRO2 Installation guide

Introducing the PRO2 and PRO2C
Think of an audio mixing system which oers
unprecedented levels of control integration in
terms of speed and ease of workow. Think of an
audio mixing system which has the most intuitive,
operator-driven user-interface yet imagined, yet
costs no more than an ordinary console. Think of
an audio mixing system which has all of this, and
sounds like a Midas. Think of the Midas PRO2 -
Radical thinking – It’s simple!
The Midas PRO2 and PRO2C may be the smallest
and least expensive Midas digital consoles so far,
however, they represent a quantum leap forward
in both technology and in concept for the art of
audio mixing.
PRO2 can be operated in a number of dierent
ways, depending upon the experience, ability and
willingness of the operator to adopt new ideas. In
“normal” mode, PRO2 behaves in a manner similar
to many other digital consoles. Engineers who are
new to Midas digital can relax, enjoy the PRO2’s
sample-synchronous audio quality, and operate
the console from well within their comfort zone.
As an operator becomes increasingly familiar
with the console, they can activate the advanced
navigation features which enable access to
undreamt of levels of ease and speed of workow
on an audio console. Digital or Analogue!
PRO2 is also available in minimum-footprint
compact form, PRO2C. PRO2C is essentially the
same mixer, the only dierence being the physical
size of the user interface. The PRO2C features all
of the facilities of it’s larger sibling, yet this 64
channel mixer is no larger than many 24 channel
analogue consoles.

Overview
• 56 mic/line inputs with Midas mic preamps
• 64 simultaneous input processing channels
• 32 analogue outputs
(including 2 stereo local monitor outputs)
• 3 AES3 outputs
• 2 AES3 inputs
• 27 sample-synchronous, phase-coherent
mix buses
• 6 multi-channel FX engines
• Up to 28 Klark Teknik DN370
31-band Graphic EQs
• Full-colour 15” daylight-viewable display screen
• 8 VCA (Variable Control Association) groups
• 6 POPulation groups
• 192 MCA (Mix Control Association) groups
• 96kHz 40-bit oating-point processing throughout
• 48 in 16 out 100m dual Cat-5E AES50 digital
snake included
Connectivity
The xed-format, integrated audio I/O on the rear
of the surface features the following connections:
• 8 x analogue mic/line inputs
with Midas mic pre’s (XLR)
• 8 x analogue outputs (XLR)
• 2 x AES3 inputs
• 3 x AES3 outputs (XLR)
• 6 x AES50 ports (RJ45)
• Local monitor A L&R and
Local monitor B L&R (XLR)
• Left, Right and Mono master outputs (XLR)
• Talk output (XLR)
• Talk Mic input (XLR)
Additional non-audio rear panel connections are:
• MIDI in, out and through
• AES3 clock in and out (XLRM & XLRF)
• Wordclock in and out (2 x BNC)
• Video (black burst) sync in (BNC)
• DVI video output from console screen (DVI)
• Ethernet control port (Ethercon RJ45)
• USB port (USB A)
I/O Options
• DL252 16in / 48 out xed conguration I/O
• DL351 Up to 64 in / 64 out congurable I/O
(8 card slots)
• DL451 Up to 24 in / 24 out congurable I/O
(3 card slots)
• DL431 24 in 5 way split: xed conguration I/O
Klark Teknik Accessories
• Klark Teknik DN9331 Rapide remote Graphic EQ
fader controller
• Klark Teknik DN9696 high resolution
audio recorder
• Klark Teknik DN9650 digital audio
format convertor
Mixer
In addition to the 56 primary input channels,
PRO2 features 8 aux returns, all of which feature
4-band parametric EQ and insert points. These 8
aux returns can be used as returns for the PRO2’s
internal FX processors, or as additional mic
channels, if enough mic inputs are available on
the network I/O hardware.
A total of 64 input channels have routing to
27 mix buses. These buses comprise 16 user-
congurable aux buses, which can be mixes,
subgroups or mix minus groups, and the 8 matrix
buses. The Matrix buses source from inputs, as
well as groups, and so can be used as additional
auxes (monitor mix and FX sends). All buses can
be linked as stereo pairs (except the MONO bus).
All audio paths can be routed to multiple
destinations and the console format can be
recongured live on a scene-by-scene basis.
Hardware
The Console is a typical robust Midas steel frame,
which employs engineering principles similar to
those employed on established products such
as PRO6 and XL8. The frame is tted with two
removable power supplies, only one of which is
required for full operation. The power supplies are
auto-voltage sensing, auto-switchover, tted with
locking AC connectors, and are hot-swapable.
The standard DL251 remote stagebox included
with each PRO2 system has 48 Midas mic/line
inputs, 16 analogue XLR outputs and features
dual power supplies as standard. The DL251 can
be located up to 100 metres (330 feet) cable
distance from the console. You can choose from
a range of optional I/O including the DL431 Mic
Splitter so you can tailor the I/O hardware to your
chosen application.

The PRO2 features 16 input faders, which can easily be increased to 24 by using the EXTEND button to
deploy 8 more input channels on what are by default the VCA 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 24
input faders to access the PRO2’s 64 input channels.
(iPad not included)
Remote Control App

Daylight Viewable Display Screen
Assignable Controls
Fader EXTEND Button
Screen Access Buttons
100mm Motorised Faders
8 Mic/Line Inputs
8 Line Outputs
8 Master and Local Outputs
2 AES3 Inputs and 3 AES3 Outputs
MIDI
Multiple Clocking Options
6 AES 50 Ports
PRO2C has the same feature set as the PRO2
but has 8 input faders that can be increased
to 16 by using the EXTEND button.

6 AES 50 Ports
Equalisation
GLOBAL TAP-TEMPO Button
Six POP Groups
Eight VCAs
Area ‘B’
Dual Redundant Power Supplies
USB
Ethernet Control
DVI Video Out
Advanced Navigation
Dynamics Processing
Input Gains
Detail Strip

Navigating the Channels
The concept of “paging” or “layering” is eliminated.
Instead the operator is invited to create groups
of mixes 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 three types of groupings available on
PRO2. VCA (Variable Control Associations) MCA
(Mix Control Associations) and POPulation groups.
These groups are identied using colour coding
and high-visibility labelling and further supported
by 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 of
the control surface, populating from the VCA area
outwards. If the group has more members than
visible input channels, the group can be viewed
either by scrolling the input faders, or pressing
the EXTEND button. This will populate the VCA
fader area with the additional input channels.
Advanced Navigation Modes
The PRO2 features three modes of channel
navigation. These options make it possible for
an engineer to easily and eciently mix a large
number of inputs on a very compact control
surface, and makes the PRO2 Midas’ most
dynamic user-interface to date. The Advanced
navigation modes are accessed using the four
large illuminated advanced navigation hardware
buttons.
When the FLIP button is engaged, selecting an
output will ip the input faders to become the
input channel send levels to the selected output.
When the GEQ NAVIGATION button is engaged,
selecting an output which has a GEQ assigned,
will present the GEQ on the VCA faders. Scrolling
the VCA faders left and 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.
If HIDE UNNASSIGNED CHANNELS is selected,
the operator will only be presented with input
channels which are sending to that mix.
When the FX NAVIGATION button is engaged,
selecting an output which is patched to
an internal FX processor will deploy that
FX processor on the screen and map the
ASSIGNABLE CONTROLS to it. If FADER FLIP is also
engaged, the input channel faders will become
the contributions to the FX processor. If HIDE
UNASSIGNED CHANNELS is selected, the operator
will only be presented with input channels which
are sending to that FX processor.
If the MCA button is engaged, when an output
(mix) is selected, the MCA faders for that output
are deployed on the VCA fader bank.
MCA groups (Mix Control Association groups),
operate similar to VCA groups, but are
specic to the selected mix. When the PRO2
is in Advanced navigation mode, and MCA
navigation is engaged, the MCA faders control
the contributions of their members only to the
currently selected bus. This is a unique and
powerful mixing tool, which puts the PRO2 in a
class of it’s own for innovation and usability.
PRO2 has the ability to make working with the
console as simple as requirements dictate, or as
deep and complex as a user desires. To introduce
the concept, think of multilayered 3-D VCA’s, or a
mixing console with 200 linked VCA groups! Both
are valid starting points.
Hide/show unassigned channels when ipped.
When in this mode, and the FLIP button is
engaged, selecting an output ips the input
faders to become the input channel send levels
to the selected output. The console will only
populate with the input channels which are
assigned to the selected output.
Automation
One of the most critical requirements for Theatre
applications is the power and exibility of console
automation. The Midas PRO2 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 PRO2’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.

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 assignable controls adopt
colour cues depending upon their function. 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.
Area B
To further enhance an already dynamic and
exible user-interface, PRO2 features an AREA
B. By default, these are the Left, Right and Mono
master faders. However, as these faders are seldom
used once the show is running, any of the VCA or
POPulation groups can be deployed here as an
alternative to the primary fader area. This allows
the operator to “stick” high-priority channels onto
this area of the surface for instant access.
Display Screen
The high-resolution screen remains visible even
in direct sunlight. In this aspect, the PRO2’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.
Detail Panel Area
The detail panel is a vertically oriented channel
strip, with an almost identical layout to the PRO3,6
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.
Input Gains
The PRO2 boasts 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.
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.
Dynamics Processing
The dynamics processing on the PRO2’s input
channels is identical to the 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 these compressor options feature
variable knee, internal and external sidechain
ltering, and colouration artefact options.
Output (bus) 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 PRO2’s FX rack, including multiband
compression and dynamic equalisation.
FX
The PRO2’s 40 bit oating-point audio processing
hosts a wide choice of virtual FX devices,
which range from dual-mono 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 PRO2’s GLOBAL TAP-TEMPO
hardware button. This makes on-the-y changes
to delay eects childs’ play.
Even more FX options are under development for
future rmware releases.
Surround Sound
In addition to normal stereo and SIS operation,
the PRO2 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
control to tailor the depth of the surround
panning. Dynamic surround panning can be
implemented using the PRO2’s trackball, or the
USB pointing device of your choice.
Remote Control
Remote control of the PRO2 can be achieved
using an iPad and wireless access point. Install the
PRO2 remote app on the iPad and connect the
WAP to the PRO2’s Ethernet control port, having
congured the wireless link.

Dimension Overview
PRO2C:
Width 882mm (347.2”)
Depth 730.3mm (287.5”)
Height 247.9mm (108.2”)
Weight 37kg (81.57lbs)
Dimension Overview
PRO2:
Width 1179.6mm (464.4”)
Depth 730.3mm (287.5”)
Height 247.9mm (108.2”)
Weight 46kg (101.4lbs)
DL251
Please note: all measurements are in millimetres. Flight case and
DL251 not to scale.

Dimension Overview
PRO2C:
Width 882mm (347.2”)
Depth 730.3mm (287.5”)
Height 247.9mm (108.2”)
Weight 37kg (81.57lbs)
Dimension Overview
PRO2:
Width 1179.6mm (464.4”)
Depth 730.3mm (287.5”)
Height 247.9mm (108.2”)
Weight 46kg (101.4lbs)
DL251
Please note: all measurements are in millimetres. Flight case and
DL251 not to scale.

© 2011 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-PRO2-01-09-2011
Architect’s and
Engineer’s Specication
The PRO2 and PRO2C standard package
comprises of:-
27 Bus Console (plus 4 solo),
64 main inputs (or 56 input and 8 aux
return)
56 XLR mic/line inputs,
24 XLR line outputs,
2 AES/EBU inputs
2 AES/EBU outputs
1 Console in ight case (TP version only)
4 interconnecting (N=1) rack Cat5-E
copper cables
The system shall comprise of robust
steel, 19” rack mountable, modular
units that can be interconnected
via N+1 or dual redundant cables
to provide a scalable audio signal
network with signal processing and
mixing capability. A central control
surface shall be provided consisting of
multiple modules housed in a robust
steel chassis that can be located well
away from the rest of the system and
connected by dual redundant multi-
channel digital bre or copper “snake”.
The entire system shall be fault tolerant
such that no single interconnecting
cable fault can stop the system
operating to its full capacity. All external
interfacing, internal processing and
system controls shall be modular
such that loss of power to any single
module only aects that module
allowing the remainder of the system
to operate normally. The operational
status of all the system modules and
interconnections shall be continuously
monitored and reported at the control
surface.
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 and only requires the
interconnection of two digital audio
cables (three for redundancy) and
power to make it operational.
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
56 primary input channels and 8
auxiliary input channels simultaneously
to 24 main bus 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.
Primary Input Channel Functions:-
Input Channel Hi Pass selectable
10Hz to 400Hz swept slope
12dB/Oct or 24dB/Oct
Input Channel Lo Pass selectable
2kHz to 20kHz swept slope
6dB/Oct or 12dB/Oct
Input Channel Treble
Parametric Operation
Frequency 1kHz to 25kHz swept
Gain +16dB to –16dB
BW 0.1 Oct to 3 Oct
Shelf Operation
Frequency 1kHz to 25kHz swept
Gain +16dB to –16dB
Soft, Classic or Bright (minimum
harmonic disruption) curves
Input Channel Hi Mid
Parametric Operation
Frequency 320Hz to 8kHz swept
Gain +16dB to –16dB
BW 0.1 Oct to 3 Oct
Input Channel Lo Mid
Parametric Operation
Frequency 80Hz to 2kHz swept
Gain +16dB to –16dB
BW 0.1 Oct to 3 Oct
Input Channel Bass
Parametric Operation
Frequency 16Hz to 400Hz swept
Gain +16dB to –16dB
BW 0.1 Oct to 3 Oct
Shelf Operation
Frequency 16Hz to 400Hz swept
Gain +16dB to –16dB
Warm, Classic or Deep (minimum
harmonic disruption) curves
Input Channel Compressor
Peak, Linear, RMS,
Vintage modes
Thresh -50dBu to +20dBu
Attack 200uS to 20mS
Release 50mS to 3 Sec
Ratio 25:1 to 1:1
Knee 4dB, 12dB or 40dB
Gain 0dB to +24dB
Side chain source
selectable + lter
Frequency 50Hz to 15kHz swept
Bandwidth 1/3, 1 or 2 Oct
Input Channel Gate
Peak mode
Thresh -50dBu to +20dBu
Attack 10uS to 20mS
Hold 5mS to 2 Sec
Release 2mS to 2 Sec
Range 100dB to 0dB
Side chain source
selectable + lter
Frequency 50Hz to 15kHz swept
Bandwidth 1/3, 1 or 2 Oct
Auxiliary Return Channel Functions:-
Aux Return Treble
Parametric Operation
Frequency 1kHz to 25kHz swept
Gain +16dB to –16dB
BW 0.1 Oct to 3 Oct
Shelf Operation
Frequency 1kHz to 25kHz swept
Gain +16dB to –16dB
Soft, Classic or Bright (minimum
harmonic disruption) curves
Aux Return Hi Mid
Parametric Operation
Frequency 320Hz to 8kHz swept
Gain +16dB to –16dB
BW 0.1 Oct to 3 Oct
Aux Return Lo Mid
Parametric Operation
Frequency 80Hz to 2kHz swept
Gain +16dB to –16dB
BW 0.1 Oct to 3 Oct
Aux Return Bass
Parametric Operation
Frequency 16Hz to 400Hz swept
Gain +16dB to –16dB
BW 0.1 Oct to 3 Oct
Shelf Operation
Frequency 16Hz to 400Hz swept
Gain +16dB to –16dB
Warm, Classic or Deep (minimum
harmonic disruption) curves
Output Channel Functions:-
Output Channel Band 6
Parametric Operation
Frequency 16Hz to 25kHz swept
Gain +16dB to –16dB
BW 0.1 Oct to 3 Oct
Lo Pass Operation
Frequency 16Hz to 25kHz swept
Slope 6dB/Oct or 12dB/Oct
Shelf Operation
Frequency 16Hz to 25kHz swept
Gain +16dB to –16dB
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 16Hz to 25kHz swept
Gain +16dB to –16dB
BW 0.1 Oct to 3 Oct
Hi Pass Operation
Frequency 16Hz to 25kHz swept
Slope 24dB/Oct
Output Channel Band 1
Parametric Operation
Frequency 16Hz to 25kHz swept
Gain +16dB to –16dB.
BW 0.1 Oct to 3 Oct
Hi Pass Operation.
Frequency 16Hz to 25kHz swept
Slope 6dB/Oct or 12dB/Oct.
Shelf Operation
Frequency 16Hz to 25kHz swept
Gain +16dB to –16dB
Mode soft curve
Output Channel GEQ
8 available in place of PEQ
(above)
31 Bands.
1/3 Oct. Proportional Q
Lo Pass Frequency 2kHz to
20kHz swept
Slope 6dB/Oct or 12dB/Oct
Hi Pass Frequency 20Hz to
500Hz swept
Slope 6dB/Oct or 12dB/Oct
Output Channel Dynamic
Pk, Linear, RMS, Vintage and
Shimmer modes
Thresh -50dBu to +20dBu
Attack 200uS to 20mS
Release 50mS to 3 Sec
Ratio 25:1 to 1:1
Knee 4dB, 12dB or 40dB
Gain 0dB to +24Db
Side chain source
selectable + lter
Frequency 50Hz to 15kHz swept
Bandwidth 1/3, 1 or 2 Oct
Eects Channel Functions:-
Multi Channel Eects 6 available
congurable as
Modulated delay eects
Complex delay, reverbs
Advanced dynamics
Primary Input / Output Unit:-
The primary input/output unit shall
be a 5U rack box with dual-redundant
universal mains power supplies and
connections and that interfaces
48 bi-directional system signals to
external analogue equipment using
the balanced 3-pin XLR format: N+1
bi-directional digital AES50 protocol
system connections shall be provided
on XLR Ethernet connectors.
MIDI inputs and output shall be
provided.
Control of gain and all preamplier
functions on the balanced XLR mic / line
inputs shall be available remotely from
the system control surface.