Midas XL200 User manual

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MIDAS XL200
LIVE PERFORMANCE CONSOLE
Contents
Introduction
Midas XL201 Input Module 1
Midas XL202 Stereo Input Module 5
Midas XL203 Input Fader 9
Midas XL211 Stereo Group Module 11
Midas XL241 Mono Group Module 15
Midas XL213VGA Fader 1
7
Midas XL251 Aux Masters 1-4 and Automute 21
Midas XL252 Aux/Masters 5-8 Module 25
Midas XL221 Master and Comms Module 29
Midas XL200 Metering 33
Midas XL200 Rear Panel

Introduction to the XL200
Historically, Midas mixing consoles were always considered as high quality, high cost
products which most PA companies could not afford -but all aspired to. The
introduction ofthe XL3 eonsole in 1993 was amilestone for Midas, as it marked the
launch of aMidas product that allowed engineers to enjoy the same high sound and
build quality, but at afraetion of the cost.
With the XL4 and XL3 consoles in the Midas product range, the introduction ofthe
XL200 is yet another breakthrough for price versus performance. The design criteria
was to develop amid prieed mixing console, while maintaining the outstanding sound
quality and sonic performance. Frame construction techniques are adeparture from
traditional Midas design, as very little wiring is present in the frame with all input and
insert connectors integral to each module. The addition of efficient, ergonomic and
tactile control features also allows us to use the most cost effective manufacturing
methods -the result is an outstanding mid priced console that brings the Midas dream
within reach. The Midas XL200 atouch more accessible.

29 Output Meters 13x8 Matrix 8Aux Masters
Position for 6Blank
Two Stereo Modules
Input Channels for expansion
as standard
24 Input Channels each with
direct output, 4band
parametric e/q, 8aux stereo,
6mono groups, 2stereo
groups. Stereo Masters, and
MonoMaster
24 Input Faders
and VCARouting
8VCA
Master
Faders
16 Input
Channels
As 1-24
16 Input Faders
and VCARouting

Midas XL200 Features
Mic Inputs.
The XL200 features astate of the art Analogue Devices™ mic amplifier which
assures low distortion and excellent amplifier stability, RF rejection and noise
performance.
Line inputs.
Aseparate Hi Zline input is incorporated which is ideal for playback of recorded
material.
Direct Outputs.
Every input module is fitted with adirect output as standard making multi-track
recording asimple task.
Equaliser.
The sonic performance of the legendary Midas equaliser is maintained including
parametric mid’s with sweepable frequency and switched ‘Q’. The treble and bass
sections have the traditional Midas wide frequency range shelving characteristic.
Inserts.
Each channel has ahalf normalised fully balanced insert send and return point which
can be switched in or out from the front panel and set as either pre or post equaliser.
Input metering.
These peak reading meters cover a30dB range in 3dB steps and monitor pre fader
signals.
Audio busses.
Each channel can be routed to any combination of 21 audio busses comprising of 8
aux’s, 6mono groups, 2stereo groups 2stereo masters and 1mono master. All
switchable on the module front panel.
VGA and mute busses.
Each channel can be controlled by any combination of the 8VGA master faders and
8mute masters. Assignment of these busses is again switchable on the module front
panel. Mutes may also be controlled by the optional automation system. Asafe
switch disconnects the channel from all mute groups.
Audio groups.
The main audio groups may also be assigned to any of the 8automute groups. Asafe
switch is again included for each group. The input for the groups is derived from the
10 group busses.
Master.
The master module provides the main left, right and mono console outputs. Asolo to
master facility is incorporated on the left and right outputs to aid the engineer at
sound checks.

Matrix.
The 8matrix outputs are apart of the group modules, and derive their signals from
the 6mono audio groups, 2stereo groups, left and right masters and mono master,
creating a13 x8matrix.
Output meters.
32 peak reading led bargraph meters (each covering a60dB range in 3dB steps) are
used to monitor all the group outputs i.e. 6mono groups, 2stereo groups, 8matrix,
and 8auxiliary. 3VU meters are used for the left, right, and mono outputs. They also
automatically monitor the left, right, and mono solo functions.
The Optional Midi Automation.
The Midi automation system provides 10 mute groups, 128 snapshots of mute
settings and asolo-in-place mode which can be used alongside the conventional
PLF/AFL system.

XL200 Specification Overview and Statistics.
1
.
The XL200 is a24 audio buss console with an additional 13x8 output matrix The
busses are as follows:
8mono aux groups =8
6mono audio sub groups =6
2stereo audio sub groups =4
1stereo master =2
1mono master =1
1stereo Solo =2
1mono Solo =1
2. The XL200 has 8automute groups, and 8input channel VGA sub groups which
include VGA sub group muting.
3. The XL200 has either 40, 32, 24, or 16 input channels with separate line and mic
inputs.
4. The 40 input XL200 has a total XLR input count of 71 as follows:
40 channel mic inputs
8aux bus inject inputs
10 audio group bus inject inputs
8matrix bus inject inputs
2master bus inject inputs
1comms input
1talk mic input
1solo
5. The XL200 has atotal XLR output count of 32 as follows:
8aux outputs
10 audio group outputs
8matrix outputs
3master outputs
2local outputs
1talk output
6. The 40 input XL200 has atotal of 40 balanced jack line inputs.
7. The 40 input XL200 has atotal of 40 balanced jack direct outputs.

8. The 40 input XL200 has atotal of 122 balanced jacks for inserts, (arranged pairs)
as follows:
40 input channel inserts sends
40 input channel inserts returns
10 audio group inserts sends
10 audio group inserts returns
8matrix insert sends
8matrix returns
3matrix insert sends
3matrix insert returns
9. The XL200 has apeak program meters with 10 LED segments for each input and
20 LED segment meters for each output.
10. XL200 configurations
XL200-44
XL200-36
XL200-28
XL200-20
40 mono inputs/2 stereo inputs/6 blank modules
32 mono inputs/2 stereo inputs/6 blank modules
24 mono inputs/2 stereo inputs/6 blank modules
16 mono inputs/2 stereo inputs/6 blank modules
XL200-24 compact
XL200-16 compact
XL200-32 extender
XL200-24 extender
XL200-16 extender
24 module positions only
16 module positions only
32 mono or stereo inputs
24 mono or stereo inputs
16 mono or stereo inputs
11.XL200 dimensions and weights
Dimensions Width 1986mm (XL200-44)
1736mm (XL200-36)
1486mm (XL200-28)
1236mm (XL200-20)
1236mm (XL200-24 compact)
986mm (XL200- 16 compact)
1236mm (XL200-32 extender)
986mm (XL200-24 extender)
674mm (XL200- 16 extender)
Depth 1020mm (all consoles)
Height 375mm (all consoles)
Nett weight
Shipping weight
129kg/2851b (XL200-44)
301kg/6651b (XL200-44)

XL200 Technical Specification.
Input Impedance Mic 2K Balanced
Line 20K Balanced
Input Gain
(all faders at OdB )
Mic Continuously variable from
+6dB to +60dB
Mic +Pad Continuously variable from
-14dB to +40dB
Channel
Line Input
Continuously variable from
-lOdB to +20dB
All other Line Inputs OdB
Maximum Input Level Mic +15dBu
Mic +Pad +35dBu
Channel Line Input +26dBu
All other Line Inputs +21dBu
CMR at IKHz Mic (gain +60dB )>70dB
Mic +Pad
(gain +40dB )>50dB
Frequency Response
(20 to 20KHz )Mic to Mix
(gain +60dB )+OdB to IdB
Line to Mix +OdB to IdB
Noise (20 to 20Khz )Mic BIN ref 150 Ohms
(gain +60dB )-128dBu
Line BIN ref 150 Ohms
(gain +lOdB )-lOOdBu
System Noise
(20 to 20KHz )
Summing Noise
(12 channels routed
with faders down )-86dB
Line to Mix Noise
(12 channels routed
at OdBm pan centre )-81dB

Summing Noise
Distortion at IKHz
Crosstalk at 1KHz
Output Impedance
Maximum Output Level
Nominal Signal Level
Headroom at all stages
(4X channels routed
with faders down )-80dB
Line to Mix Noise
(48 channels routed
at OdB, pan centre )-75dB
Mic to Mix (+60dB
gain, OdBu output
)
<003%
Line to Mix (OdBu )<0.03%
Channel to Channel <- lOOdB
Mix to Mix <-90dB
Channel to Mix <-90dB
Maximum Fader
attenuation >90dB
All Line Outputs 75 Ohms Balanced Source to
drive >600 Ohms
Headphones To drive >8Ohms Unbalanced
Comms (Bi
directional
)
600 Ohms Nominal Unbalanced
All Line Outputs +21 dBu
Headphones +21 dBu (8W into 8Ohms )
Comms (Bi
directional
)
-lOdBu
Mic -60dBu to +14dBu
Channel
Line Inputs -20dBu to 6dBu
All other Line
Inputs and Outputs OdBu
Headphones +lOdBu
Comms -20dBu
Comms and
Talk Mic -50dBu to 20dBu
Comms, Talk
and Headphone >lOdB
All other signals >20dB

Input Metering
Equaliser
Type
Range
Colour Green
Colour Yellow
Colour Red
Hi pass slope
Hi pass frequency
Treble Gain
Treble Shelving Freq.
Hi Mid Gain
Hi Mid Freq.
Hi Mid Band width
Lo Mid Gain
Lo Mid Freq.
Lo Mid Bandwidth
Bass Gain
Bass Shelving Freq.
10 led peak reading
-25dBu to +12dBu
Up to +3dBu Normal signal
+6dBu to +9dBu High signal
+12dBu Signal Too High
12dB/Oct.
Continuously variable
-3dB point from 20Hz to 400Hz
Continuously variable
+15 dB to -15 dB
Centre detent =OdB
Continuously variable
-3dB point from 2K to 20K
Continuously variable
+15 dB to -15 dB
Centre detent =OdB
Continuously variable
centre from 400Hz to 8K
Switchable 0.5 Oct and 1.0 Oct.
Continuously variable
+15 dB to -15 dB
Centre detent =OdB
Continuously variable
centre from lOOHz to 2K
Switchable 0.5 Oct and 1.0 Oct.
Continuously variable
+15 dB to -15 dB
Centre detent =OdB
Continuously variable
-3dB point from 20Hz to 200Hz

MIDAS XL201
Input Module

Provides 48 volt phantom
power for acondenser
microphone, or DI box.
Optional balancing transformers
may be fitted on the Mic input.
The PHASE REVERSE switch
inverts the phase of the
selected input, Mic or Line, to
allow compensation for
different wiring standards.
EQUALISER The XL2()()
Equaliser is afour-band design
having sweep frequency
adjustment. Each band consists
of two dual-concentric pots.
The upper pot is the gain
adjustment, the lower control
being the frequency
adjustment.The two mid-range
sections each have a
switch-selectable band width.
HIGH PASS FILTER
CONTROL The frequency
range of the filter is 2()Hz to
400Hz. continuously variable.
INSERT In/Out The switch INS
connects any outboard
processor via the insert send
and return connectors into
circuit. The Insert point is
normally located before the EQ
section, but aswitch located on
the module peb allows the
insert to be post-EQ.
-20dB (PAD) Switching in -20
inserts a20dB attenuator in
circuit with the microphone
input. This may be used when
high- output microphones arc
employed, or to enable the use
of the mic input for line-level
signals.
GAIN The gain control is a
wide range rotary
potentiometer, and is active on
both Mic and Line Inputs. On
Mic, the gain can be adjusted
from 6dB to 60dB. For Line
inputs, the adjustment is from
-lOdB to+20dB.
LINE The LINE switch selects
the signal on the line input
socket to feed the channel path
when it is down. In this case,
the Mic signal is disconnected.
The led illuminates when Line
is selected.
HE Shelving section, providing
-i-/-15dB of gain with an
adjustable frequency range of
2kHz to 2()kHz.
HI MID Peaking section,
providing +!- 15dB of gain,
at frequencies from 4()0Hz to
8kHz.
BANDWIDTH Selects the
band width to be 1.4 (1Oct) or
2.9. The band width is 2.9 (0.5
Oct) when the switch is in the
’down position.
LO MID Peaking section,
providing +!- 15dB of gain,
at frequencies from lOOHz to
2kHz.
LF Shelving section, providing
+!- 15dB of gain with an
adjustable frequency range of
20Hz to 200Hz.
EQ IN The EQ switch inserts
the equaliser into circuit. When
switched out, the equaliser is
totally bypassed, keeping the
signal path to aminimum.
The led in the switch
illuminates when the EQ is in
eircuit.
")

PRE Selects each auxiliary send
to be pre channel fader. ON Enables each auxiliary to
send via it's rotary control
ROUTING and status.
AUXIEIARIES The XE200
has eight auxiliary buses,
accessed on the Input module
from 8independant rotary
controls.

MIX Routes the post-fade,
post-pan ehannel signal to the
main stereo mix bus, with led
indication. The PAN control is
automatically inserted into
circuit.
AUTOMUTE ROUTING
Switches 1-8 enable an input
channel to be assigned to any or
all of the automute scenes
controlled from the master
scene switches on the auxiliary
send master module.
MUTE This switch mutes an
input channel so that all
functions are muted.
SOLO The SOLO button feeds
aPre-fader or post-fader signal
(as selected on the master
module PPL or APE) to the
Monitor section (loudspeakers
or headphones), replacing the
selected monitor source if one
is selected. The main stereo
output of the console is not
affected unless SIP
(Solo-in-place) mode has been
selected on the master. The
yellow led in the SOLO switch
will Hash when the SOLO
function is active.
SOLO signals from dilTcrenl sources
that are active simultaneously in the
non-inteiiocked mode will be
sLimmed. To latch the SOLO function,
press the button qtiickly and release.
To unlateh. repeat. To SOLO asigntil
momentarily, hold down the CLIH
button for at least Isecond. On
release, the CUE will also be released.
See the section on THE SOLO
S't’STEM for full functional details.
AUDIO GROUP ASSIGNS
Switches 1-6 route an input
channel to any of the six mono
audio sub groups. Switches
STA and STB route an input
channel to either of the stereo
audio sub groups.
MONO Routes the post-fade,
post-pan channel signal to the
main mono mix bus, w'ith led
indication.
ON When this button is
pressed, the PAN control is
automatically inserted into
circuit across the selected
buses, allowing the signal to be
positioned in the stereo image.
When PAN is set to centre,
equal levels are sent to both
buses, with a3dB drop relative
to fully clockwise or
anti-clockwise. Setting the
PAN control fully anticlockwise
sends full level to the Left bus.
cutting the send to the Right
bus; fully clockwise rotation
sends full level to the Right
bus. cutting the feed to Left.
MUTE SALE Prevents the
Mute Group (or scene preset)
master from muting the
channel, and may be used to
locally override muted
channels.
METER The ten segment led
meter is fed pre fade at all
times.
4

MIDAS XL202
Stereo Input
Module

Provides 48 volt phantom
power for acondenser
microphone, or DI box.
The PHASE REVERSE switch
inverts the phase of the left
channel only to allow
compensation for different
wiring standards, or anomalies
between stereo inputs.
ER switches. In their out
position, the module acts as a
stereo module with both
channels being separate. The L
switch assigns left input to both
channels, Rassigns right input
to both channels. With both
switches enabled, left and right
inputs are mono.
EQUALISER. The XL200
Stereo Equaliser is athree band
design, having fixed frequency
shelving for treble and bass.
The mid band is sweepable with
range and bandwidth switching.
HIGH PASS PIETER
CONTROL. The frequency
range of the filter is 20Hz to
400Hz, continuously variable.
HIGH PASS PIETER SWITCH.
Enables the high pass filter
section.
treble
GAIN. The gain control is a
wide range rotary
potentiometer. The gain can be
adjusted from 6dB to 60dB.
LINE. The line switch places a
20dB pad in both inputs, giving
again range of -14 to -i-40dB.
The LED illuminates when
LINE is selected.
TREBLE shelving section,
providing -i-/-15dB of gain at
12kHz.
MID PREQUENCY. Sweepable
from lOOHz to 2kHz.
MID. Peaking section,
providing +1-15dB of gain.
X4. Used in conjunction with
MID PREQUENCY, changes
sweepable range to 400Hz -
8kHz.
Bass shelving section,
providing -i-/-15dB of gain at
80Hz.
EQ. The EQ switches insert the
equaliser into either left, right
or both channels. The LEDs
illuminate if either or both are
selected.
INSERT In/Out. The switch
INS connects any outboard
processor via the insert send
and return connectors into the
respective left &right circuits.
The insert points are normally
located before the EQ section,
but aswitch located on the
module pcb allows the insert to
be post EQ.
6

PRE. Selects each auxiliary
send to be pre channel fader.
ON. Enables each auxiliary to
send via it's rotary control with
status LED.
AUXILIARIES. The XL200
has eight auxiliary buses. The
feeds for auxes 1to 4are
derived from asummed mono
signal of left and right. The
feeds for auxes 5to 8are
selectable between summed
mono and level/pan functions.
ST. The ST switch when
depressed, makes auxes 5-6 and
7-8 stereo pairs instead of
discrete sends. 6and 8become
the level controls for 5-6 or 7-8.
thus 5and 7become the
balance controls for 5-6 or 7-8.
7

MIX. Routes the post fade, post
pan channel signals to the main
stereo mix bus with LED
indication.
AUTOMUTE ROUTING.
Switches 1-8 enable an input
channel to be assigned to any or
all of the automute scenes
controlled from the master
scene switches on the auxiliary
send master module.
MUTE. This switch mutes an
input channel so that all
functions are muted.
SOLO. The SOLO button feeds
pre-fader or post-fader signals
(as selected on the master
module PEL or AFL) to the
monitor section (loudspeakers
or headphones), replacing the
.selected monitor source if one
is selected. The main stereo
output of the console is not
affected unless SIP
(Solo-in-place) mode has been
selected on the master. The
yellow LED in the SOLO
switch will flash when the
SOLO function is active.
AUDIO GROUP ASSIGNS.
Switches 1-6 route the input
channel to the six mono audio
sub groups. The left channel
routing to odd groups (1.3.5)
and the right channel routing to
even groups (2.4.6). Switches
STA and STB route the input
channel in stereo to either of the
stereo audio sub groups.
MONO. Routes the post-fade,
sum of left and right signals to
the main mono mix bus. with
LED indication.
METER &SOLO. Selects left,
right or mono mix to the
channel meter and solo
functions.
PAN. Balances the left and right
channel signals sent to groups
and masters.
MUTE SAFE. Prevents the
Mute Group (or scene preset)
master from muting the channel
and may be used to locally
override muted channels.
METER. The ten segment LED
meter is fed pre fade at all
times.
To latch the SOLO function,
press the button quickly and
release. To unlatch, repeat. To
SOLO a signal momentarily,
hold down the CUE button for
at least Isecond. On release,
the CUE will also be released.
See the section on THE SOLO
SYSTEM for full functional
details.

MIDAS XL203
INPUT FADER