Midas VERONA User manual

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

IMPORTANT SAFETY INSTRUCTIONS
These symbols are internationally accepted symbols that warn of potential hazards with
electrical products.
The lightning flash with arrowhead symbol, within an equilateral
triangle is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product's enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to persons.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with the manufacturers
instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third grounding
prong. The wide blade or the third prong are provided for your safety. If the provided plug does not
fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience
receptacles, and the point where they exit from the apparatus.
11. Only use attachments / accessories specified by the manufacturer.
12. Unplug this apparatus during lightning storms or when unused for long periods of time.
13. Refer all servicing to qualified personnel. Servicing is required when the apparatus is damaged in
any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate
normally, or has been dropped.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING:TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
AVIS:RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
The exclamation point within an equilateral triangle is intended to alert
the user to the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.

Walter Nash Road, Kidderminster, Worcestershire. DY11 7HJ. England
Tel: [phone]. Fax: [phone]
Company Registration No: 2414018
abc abc
SIGNAL PROCESSING BY DEFINITION DESIGNEDFOR APUREPERFORMANCE
DECLARATION OF CONFORMITY
We,
of, Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ.
Declare that a sample of the following product:-
to which this declaration refers, is in conformity with the following directives and/or standards:-
Klark Teknik Group (UK) Plc
Product Type Number Product Description Nominal Voltage (s) Current Freq
A Subsidiary of Telex Communications, Inc.
Verona Professional Audio 115V AC 2.2A 50/60Hz
Mixing Desk 230V AC 1.1A
Directive(s) Test Standard(s)
Generic Standard using EN55103 Limits and Methods
Class B Conduct Emissions EN55103
Class B Radiated Emissions EN55103
Fast Transient Bursts EN61000-4-4
Static Discharge EN61000-4-2
Electrical Safety EN60065:2002
UL60065-03
CAN/CSA60065-03
IEC60065-2001
Pending
Pending
Pending
Signed:............................ Date: 1st January 2004
Name: Simon Harrison
Authority: Research and Development Director, Klark Teknik Group (UK) Plc
Attention!
Where applicable, the attention of the specifier, purchaser, installer or user is drawn to special limitations
of use which must be observed when these products are taken into service to maintain compliance with
the above directives. Details of these special measures and limitations to use are available on request
and are available in product manuals.

Thank You for using a Midas Verona mixing console. The Verona has been developed to meet the needs of demanding
live sound engineers and meets the quality of build and performance that you would expect from a Midas.
The Verona is an all purpose FOH, Monitor or FOH and Monitor Hybrid console that is quickly and easily configurable.
Each mono input channel offers microphone and line inputs, direct output and insert points and four band sweep
equaliser stage. In addition the Verona has a flexible buss structure allowing the engineer to mix in stereo or LCR.
The Verona, also allows the user to route to any of 20 other busses (8 Auxiliary Busses, 8 Group Busses and 4 Matrix
Busses) for even the most demanding application.
All backed up, of course, by the standard Midas Three Year Warranty.
Please take the time to complete and return the registration card and, to obtain the best results with a minimum of
effort, also read this operators manual.
Finally,
Enjoy your new Midas Verona Console!
Operators Manual - Page 5
Contents
ATTENTION: Installation and power 6
Mono Input Channels 7
Multifunction Input Channels 13
Output Module 19
Setting up the Verona 27
Functional Block Diagrams 33
Dimensions and Weights 39
Rear Panel Description 41
Specification and Features 43
Crib Sheet 47
Rear Panel and Gain 8
Equalisation 9
Auxiliary Outputs 10
Pan and Routing 11
Metering and Automutes 12
Rear Panel and Gain 14
Channel Equalisation 15
Auxiliary Outputs 16
Pan and Routing 17
Metering, Automutes and Hints and Tips 18
Output Module notes 20
Groups 21
Matrix 22
Meters 24
Features 26
Mono Input 34
Multifunction Input 35
Group/Matrix Module 36
Master Module 37

ATTENTION
The following special limitations must be observed in order to maintain safety and electromagnetic
compatibility performance.
Power Connection
The console should only be operated with the power
supply connected to ground via the ground in the mains
connector.
Audio Connections
The console should only be operated with high quality
twisted-pair audio cables. All connector shells should be
of metal construction so that they provide a screen when
connected to the console. All jack connector shells should
be connected to the cable screen. All XLR plugs should
have pin one (1) connected to the cable screen.
Electric Fields
If the console is operated in an electromagnetic field that is
amplitude modulated by an audio frequency signal, the signal to
noise ratio may be degraded. Degradation of up to 60dB may be
experienced under extreme conditions (3V/m, 90%
modulation).
INSTALLATION
Position
Power
The position of the console will vary from venue to venue. However, when positioning the console for front of house usage it
is worth placing the console in a position where the sound system used can be heard properly from the mix position. Try to
avoid placing the console behind pillars or large objects , or mixing from a level above the speaker position (e.g. from a
balcony).
Also try to avoid placing the console near or on any power distribution units or power amplifiers.
If using an external power supply, it should be located as far away from the console as the connecting cable will allow. The
power supply should be set for the voltage supply available in your area and plugged into the mains outlet using the cable
provided.
!
THE POWER SUPPLY SHOULD NEVER BE OPERATED WITH
THE MAINS EARTH DISCONNECTED
Please note that the power supply contains LETHAL VOLTAGES greatly in excess of
the mains voltage and that it’s rails can produce extremely large currents which
could burn out equipment and wiring if shorted. All testing and servicing should
ONLY be carried out by a qualified engineer.
RCA (Tape In/Out)
Centre - Signal
Surround - Screen
The Venice’s Tape In/Out sockets are
unbalanced and operate at a nominal
signal level of -10dBu.
For increased protection against
interference use metal bodied RCA plugs.
Female XLR
Male XLR
Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal
Pin 1 - Screen/Ground
Pin 2 - Hot Signal
Pin 3 - Cold Signal
Note: Sockets are viewed from the front face.
To ensure the correct and reliable operation or your Midas Verona console, only high quality screened twisted pair
audio cable and metal bodied connectors should be used.
Connections
1
1
2
2
3
3
Quarter Inch Jack
TRS Signal TRS Insert TRS Headphone
Sleeve Screen/Ground Screen/Ground Screen/Ground
Ring Cold Signal Insert Return Right
Tip Hot Signal Insert Send Left
Operators Manual - Page 6

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

Operators Manual - Page 13
Multi Function
Input Channel

line L
PUSH
insert
mic
line
in
direct
out
(stereo only)
line in left
line in right
51
Hi-Pass
Line Gain
Image
- The high pass switch enables an 80Hz 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.
- The line gain is continuously variable from off (-inf) to +20dB allowing for low
level line signals to be trimmed to obtain the optimal signal level. The pre-fade input signal
level can be monitored using the in-channel LED meter (discussed later in this section).
- The image control controls the stereo image of the channel and is continuously
variable from mono through Left-Right stereo to a wide stereo image. The wide stereo image
uses phase cancellation techniques to create a ‘wider’ sounding signal by removing an
amount of signal common to both the left and right signals.
Note: On stereo channels, the channel HPF has no effect upon the left and right line inputs.
Note: The Line and MIC inputs are summed together and can be used simultaneously sharing the channel controls.
Front Panel
The actual number of multifunction input channels on your Midas Verona will depend upon your choice of frame. However,
each frame functions in essentially the same way.
mic gain
+30 +45
+60+15
mic
padpower
48v -15
O
ins
mono wide
stereo
image
line gain
hi-pass
80Hz
+20
0
Multi Function Input ChannelsMulti Function Input Channels
The Verona channel inputs are located on the rear of the console. Each multifunction channel
provides:
one insert point on a single TRS jack socket;
The insert point operates on the XLR microphone input only (i.e. not on the line inputs) and is
unbalanced and conventionally
two quarter-inch TRS balanced line in jack socket inputs;
one mic XLR female.
wired insert where:
- Channel Signal Send
- Channel Signal Return
- Signal Common Ground
The insert points operate at a nominal level of 0dBu and acts only upon the MIC input.
Balanced XLR and Jack inputs are conventionally wired:
- 1. Screen - 2. Hot Signal - 3. Cold Signal
- T. Hot Signal - R. Cold Signal - S. Screen
Tip
Ring
Sleeve
XLR
TRS
Operators Manual - Page 14
Rear Panel
48v Power
Mic Ø
- When depressed, the Verona
will apply 48 volts phantom power the
channel’s microphone input to power
condenser microphones, direct inject boxes
or other devices that require phantom
power.
The red phantom power LED will light to
indicate that phantom power is being
applied.
- The microphone phase switch
causes a 180 degree phase change (with
respect to the input) to occur in the input
amplifier inverting the phase of the
microphone signal to the channel. This is
generally desirable when trying to sum two
signals that are out of phase which would
lead to cancellation (especially at low
frequencies). For example, when trying to
use microphone signals from both the top
and bottom head of a snare drum.
Note: On stereo channels, the phase switch has no effect
upon the left and right line inputs.
Mic Pad
Mic Gain
Ins
- The Pad switch provides 15dB
attenuation on the input to allow the
connection of high output microphones
and line level signals (to the microphone
input) without overloading the channel’s
input amplifier.
Note: On multifunction channels, the Pad
switch has no effect upon the left & right
line level inputs.
- The microphone gain is
continuously variable from +15dB to
+60dB (effective channel input gain 0dB to
+45dB with pad enabled). The pre-fade
channel input level can be monitored on
the in-channel LED meter (discussed later
in this section).
- The insert switch enables the channel
insert point by connecting the insert return
to the channel signal signal path. This
allows for the insertion of dynamic
processors or effects into the signal path
(for example, compression, limiting or
gating of microphone signals).
Note: On stereo channels, the channel insert has no
effect upon the left and right line inputs.

Channel Equalisation
The Verona’s multifunction channels each have treble and bass
shelving EQ and hi and lo-mid sweep EQ stages for tonal control.
- The treble shelving EQ gain is continuously variable from -15dB to +15dB.
- The Hi-mid gain is continuously variable from -15dB to +15dB.
- The centre frequency of the hi-mid EQ is continuously variable from
600Hz to 8kHz allowing the operator to select the desired centre frequency for the equaliser.
- The bass shelving EQ gain is continuously variable from -15dB to +15dB.
The channel equalisation stages are enabled by depressing the EQ on switch.
Otherwise the settings of the channel EQ will have no effect.
- When depressed, auxiliary sends 1 through 6 will be sourced pre-
equalisation. Otherwise auxiliary sends will be sourced post EQ. The use of this option depends
upon how the auxiliary sends are to be used.
Treble
Hi-Mid Gain
Hi-Mid Frequency
Bass Gain
EQ On -
EQ Off (aux Pre)
Lo-Mid Frequency
Lo-Mid Gain
- The centre frequency of the lo-mid EQ is continuously variable from
100Hz to 1.2kHz allowing the operator to select the desired centre frequency for the equaliser.
- The Lo-mid gain is continuously variable from -15dB to +15dB.
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).
100
-15
-15
-15
-15
+15
+15
+15
+15
treble
bass
eq
on
eq
aux pre
off
300 500
600
3k
8k
1k2
1k5
hi-mid
lo-mid
Operators Manual - Page 15
Multi Function Input ChannelsMulti Function Input Channels
mic gain
100
-15
-15
-15
-15
+15
+15
+15
+15
+30 +45
+60+15
mic
padpower
48V -15
mono wide
stereo
0
0
0
0
0
0
0
0
+6
+6
+6
+6
+6
+6
+6
+6
image
line gain
treble
bass
stereo
hi-pass
80Hz
pan
c
l
+20
0
r
groups
pan
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
-18
0
12
18
eq
on
eq
aux pre
off
MIDAS
ins
300 500
600
3k
8k
1k2
1k5
hi-mid
lo-mid
SOLO
MUTE
10
10
5
5
0
20
15
30
40

Auxiliary Outputs
Note: Multifunction L and R channel signals are summed into a
to be routed to the auxiliary busses by the channel aux sends.
The Verona has eight (8) auxiliary outputs which can be used for
effects sends, monitor sends or as extra assignable outputs from the
console.
mono
signal
Pre-Fade
Post-Fade
Application Pre/Post Fade Reason
.
Aux Send Level
Aux 7/8 Pre
auxiliary (aux) 1-6 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
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
replicated on the aux output including EQ but
excluding PAN
Aux sends 1 through 6 are always globally switchable pre or post fader. However, Aux 7 and 8 may individually be
sourced either Post Fader or Pre Fader using the selector switch on the channel and can not be pre-EQ.
Please note that, for illustration puposes, auxiliary 1 through 4 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.
- Both aux 7 and aux 8 are assignable Pre or Post fader. When depressed, the
auxiliary is sourced pre-fader (i.e. the channel fader has no effect upon the level of the
signal sent to the auxiliary).
NOTE: Stereo modules can equally be used for mono signals (plugged in via the
microphone socket). The EQ on the stereo channels has fixed frequency high and low
sections which are optimised for vocals.
Operators Manual - Page 16
0
0
0
0
+6
+6
+6
+6
aux 8
pre
pre
aux 7
aux 6
aux 5
Multi Function Input ChannelsMulti Function Input Channels
mic gain
100
-15
-15
-15
-15
+15
+15
+15
+15
+30 +45
+60+15
mic
padpower
48V -15
mono wide
stereo
0
0
0
0
0
0
0
0
+6
+6
+6
+6
+6
+6
+6
+6
image
line gain
treble
bass
stereo
hi-pass
80Hz
pan
c
l
+20
0
r
groups
pan
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
-18
0
12
18
eq
on
eq
aux pre
off
MIDAS
ins
300 500
600
3k
8k
1k2
1k5
hi-mid
lo-mid
SOLO
MUTE
10
10
5
5
0
20
15
30
40

Pan and Routing
The Verona is a flexible mixing console with eight group buss outputs
plus stereo and mono outputs.
Groups
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.
The stereo signals are sent to the busses as a regardless of the pan control.
2.
Each pair of groups behave as if they were groups. The relative odd and even numbered send
level is controlled by the pan control.
This configuration is made by depressing the ‘Groups Pan’ key for stereo group operation or released for mono
group mode.
This selection 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 which is especially useful if the stereo input is to be used as a mono input.
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 level
control but retaining the original stereo image
from FOH.
Pre-Pan (mono)
mono sum of L & R
Post-Pan (stereo)
stereo
Application Config. Reason
Operators Manual - Page 17
stereo
pan
c
lr
groups
pan
mono
groups
stereo
1-2
5-6
7-8
3-4
SOLO
MUTE
Multi Function Input ChannelsMulti Function Input Channels
Group 1-8
Mono
Pan
Groups Pan
- Depressing the group switch
routes the channel signals as described
above.
- Depressing the mono switch routes
the channel signals to the mono buss (post-
EQ and fader).
- The pan control allows continuous
reciprocal adjustment of the stereo image
created by the channel. In the case of a
mono microphone signal this will be a simple
L-R pan, where, with a stereo signal this will
be a balance allowing the user to determine
the relative output power to each the Left
and Right ouput. At all points the pan retains
constant power (i.e. -3dB at the centre, 0dB
at each extreme).
- 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.
Note: That SIS is not available on stereo input channels.
Stereo - Depressing the stereo switch
routes the channel signals to the stereo
(main left and right) buss (post-EQ, pan
and fader).
Mute
Solo
- 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.
The channel can also be muted by the four
(4) assignable mute groups which will be
explained later in this section.
- When depressed, the channel signal
will be sent to the AFL stereo and 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 solos will replace the master outputs completely
until the solo is removed.
mic gain
100
-15
-15
-15
-15
+15
+15
+15
+15
+30 +45
+60+15
mic
padpower
48V -15
mono wide
stereo
0
0
0
0
0
0
0
0
+6
+6
+6
+6
+6
+6
+6
+6
image
line gain
treble
bass
stereo
hi-pass
80Hz
pan
c
l
+20
0
r
groups
pan
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
-18
0
12
18
eq
on
eq
aux pre
off
MIDAS
ins
300 500
600
3k
8k
1k2
1k5
hi-mid
lo-mid
SOLO
MUTE
10
10
5
5
0
20
15
30
40

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).
4 LED Meter
Channel Fader
- 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.
Note: The LED meter is Post-Insert and
EQ but Pre-Fader and Mute.
- 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).
Operators Manual - Page 18
-18
0
12
18
mute 1
mute 2
mute 3
mute 4
10
10
5
5
0
20
15
30
40
Multi Function Module hints & Tips
I want direct outs for recording but multi function channels don’t have any . . .
I’m running monitors from FOH and I've run out of auxes for effects . . .
The multi function channels don’t have a specifically labelled direct output BUT, if you are using a microphone
input and don’t need to use the insert channel, you can insert a standard unbalanced quarter-inch jack lead into
the insert point and use this as a direct output. This will work on the condition that you do not activate the insert
point on the channel strip (the insert switch) as this will cause signal to the channel to be lost.
To see for yourself why this works, look at the block diagrams later in the manual.
To add effects to a mono mic input on a multifunction channel, use the insert send of the channel into the effects
unit input and the stereo outputs of the effects unit into the stereo line inputs of the same channel on the Verona.
Use the mic gain for the mic and the line gain for the effect return level. Now the aux sends and channel fader will
control both the mic level and effects return level.
Multi Function Input ChannelsMulti Function Input Channels
mic gain
100
-15
-15
-15
-15
+15
+15
+15
+15
+30 +45
+60+15
mic
padpower
48V -15
mono wide
stereo
0
0
0
0
0
0
0
0
+6
+6
+6
+6
+6
+6
+6
+6
image
line gain
treble
bass
stereo
hi-pass
80Hz
pan
c
l
+20
0
r
groups
pan
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
-18
0
12
18
eq
on
eq
aux pre
off
MIDAS
ins
300 500
600
3k
8k
1k2
1k5
hi-mid
lo-mid
SOLO
MUTE
10
10
5
5
0
20
15
30
40