Midas XL401 User manual

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During its 30 year history, Midas has been producing live sound
consoles for the world's most demanding sound engineers and
maintains a policy of sonic excellence combined with usability and
reliability. To achieve this, the company has always wor ed closely with
leading professional in the field, and in the case of the XL4, Managing
Director, Bob Doyle, spent 10 painsta ing months finalising the
specifications of the console while discussing its concept and aims
with world class sound engineers, rental company heads, theatrical
production designers and artists. This close involvement of end users
enabled Midas to develop a console that would meet the 'real world'
needs of the most sophisticated customer, right across the live sound
spectrum.
The design brief for the console was to match or exceed the audio
performance of the highly acclaimed XL3 and to combine that with a
powerful, user-friendly automation system to deliver a no-
compromise live performance console ideally suited to the needs of
rental companies, touring system operators and high-end theatre
installations. The mixing environment was designed to enhance the
creativity of the mixing engineer, specifically by automating repetitive
tas s allowing the engineer to concentrate on the artistic aspect of the
performance.
The XL4 is a 48 channel, 45-buss console that also incorporates an 18
x 8 matrix and eight mute busses. It is designed to offer an uncluttered
control surface with the two groups of 24 channels split either side of
the central master section, yet it ma es effective use of space to offer
a reasonably compact footprint. A newly designed mic preamp has
been used that further improves on the XL3 circuit to provide increased
gain range and lower distortion. This design retains the constant
bandwidth topology of the XL3 to ensure amplifier stability along with
optimum RF rejection and noise performance at all gain settings. Its
EQ section is closely based on that of the acclaimed XL3, though the
treble and bass sections have been given extended frequency ranges
and may be switched to fully parametric operation.
A separate high impedance input, with level control, is provided for the
connection of playbac machines and other general-purpose line-
level sources and every channel is equipped with a half-normalised,
fully balanced, insert send and return (switchable pre or post
equaliser) that can be switched in and out from the front panel.
Any channel can be routed to any combination of 42 audio busses
comprising 16 mono aux sends, 4 stereo aux sends, 16 audio sub
groups and 1 stereo master. Routing can be accessed directly via the
front panel or via the on-board automation system. Each input channel
has a direct output that can be sourced pre or post equaliser. Excellent
metering facilities are provided via 28 high visibility, pea reading
bargraph meters that monitor all the main and group outputs but that
may be switched globally to monitor pre-fader or post fader sources
and may also be used to monitor the 24 aux output levels.
Up to 2000 automation scenes can be stored where a scene includes
the channel routing, all major channel control functions and all major
output mutes. The 12 motorised master faders (10 acting on inputs and
2 acting on audio groups) controlling VCAs and eight mute masters
provide direct control of signal levels within the console and it is
possible to import or export automation data for bac up or console
lin ing. Input faders can be motorised as an option.
Military spec circuit boards are used throughout, and as with the other
consoles in the Midas range, only tight tolerance components are used
along with hermetically sealed ALPS pots and 100mm Penny & Giles
faders. Li e the Midas Heritage series of consoles, the XL4 is
manufactured almost entirely by hand in Kidderminster where the
engineering and quality control standards demanded of Midas
consoles can be maintained. To bac up our confidence in the XL4, the
console carries a full three year factory warranty, plus the support of
a global distributor networ .
48 Mic Inputs
The XL4 features a new mic amplifier which further improves on the
XL3 design giving increased gain range and lower distortion, whilst
retaining the XL3's constant HF bandwidth topology which assures
excellent amplifiers stability, RF rejection and noise performance at all
gains.
Direct Outputs
Every input module is fitted with a direct output as standard with its
own level control and front panel switching which selects the source
from post fader, pre fader or pre insert and equaliser.
HISTORY
16 audio sub groups
The 16 main audio groups can be assigned to any of the 8 automute
groups and to VCA control from any combination of the 2 motorised
grand master faders. A safe switch is again included for each group.
The input for the groups is normally derived from the 16 group busses
but for monitor applications the fader change over routes the 16 mono
aux busses to the group faders.
Line inputs
A separate Hi Z line input with its own dedicated gain control is
incorporated which is ideal for playbac of recorded material. Global
change over from mic (record) to line (playbac ) is easy because it is
under automation control.
Equaliser
The sonic performance of the legendary XL3 equaliser is maintained
including the full parametric mid's and traditional Midas bass and
treble shelving responses. In addition the treble and bass sections now
have an extended frequency range and are switchable to full
parametric operation.
Inserts
Each channel has a half 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 pea reading meters cover a 60dB range in 3dB steps and can
be switched globally to monitor pre fader signals or pre insert and
equaliser signals.
Audio busses
Each channel can be routed to any combination of 42 audio busses
comprising of 16 mono aux'es, 8 stereo aux'es, 16 stereo groups and 2
stereo masters. All this is switchable on the module front panel but
also via the automation control.
VCA and mute busses
Each channel can be controlled by any combination of the 10 motorised
VCA master faders and 8 mute masters. Assignment of these busses
is again switchable on the module front panel or by the automation
control. A safe switch disconnects the channel from all mute groups
and an isolate switch removes the channel from all VCA control.
roup aux inputs
An additional 16 inputs with treble and bass equalisation can be routed
directly to the groups or via a pan to the masters mix and can be
further controlled by assignment to any of the 10 VCA masters.
Master
The stereo master module provides the main left and right console
outputs plus 4 more record outputs and a mono output. A solo to
master facility is incorporated on the left, right and mono outputs to aid
the engineer at sound chec s.
Matrix
As standard the 8 matrix outputs derive their signals from the 16 audio
groups, left and right masters creating an 18 x 8 matrix. The module
also houses the stereo aux masters which have their own outputs at all
times but which can be routed directly into the matrix giving an
additional 48 x 8 matrix sourcing direct from the input channels.
Output meters
28 pea reading meters (each covering a 60dB range in 3dB steps) are
used to monitor all the main outputs i.e. 16 groups, 8 matrix, 2 masters
and 2 local outputs. They and can be switched globally to monitor pre
fader or post fader signals and can also be used to monitor the 24 aux
outputs.
Automutes
The 8 automute masters can be assigned to any input or audio group
and act on pre fader and post fader signals. Apart from assignment the
operation of these mutes is entirely independent of the automation
system.
10 input VCA faders
10 motorised VCA master faders control the channel and aux inputs
whilst a further 2 VCA grand master faders control the audio groups.
Each VCA master has a solo switch which gives the engineer an
opportunity to monitor the signals within the VCA subgroup. Also
incorporated is a VCA mute which act on post fader signals only and
effectively adds a further 12 automute scenes to the existing dedicated
automutes.
Automation
The automation system can store and recall up to 2000 scenes. All
channel routing and major functions are automated as well as all
major output mutes. The 12 motorised VCA master faders give
dynamic control of signal levels within the console and all automation
information can be exported or imported in a variety of different
mediums for storage or console and system lin ing.
MIDAS XL4 FEATURES
MIDAS XL4 FEATURES
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The XL402 Input Pod is a comprehensive mic/line input stage
featuring switchable phantom power, 20dB pad and the facility to
place the mic/line switching under automation control. Separate
gain controls are provided for the mic and line inputs. Variable high
and low pass filters operate over the ranges 10Hz to 400Hz and 1 Hz
to 40 Hz respectively. A 20-section LED meter monitors the signal
level and the phase switch operates on both the mic and line signal
paths.
Fed from the XL402 Input Pod, the XL401 Input Module's Direct
output can be switched to pic up its signal pre or post the channel
insert point. A separate Pre Fade button enables the direct output to
be pic ed up pre or post the channel fader and a rotary control sets
the level of the Direct out signal.
The input module incorporates an enhanced MIDAS 4-band
equaliser that features two fully parametric mid sections plus
variable frequency high and low shelving filters with adjustable
frequency ranges (1 Hz to 20 Hz and 20Hz to 400Hz respectively).
Newly added Bell switches and width controls convert the high and
low sections from the traditional MIDAS shelving response to fully
parametric operation. The two parametric mid range sections can
be varied over the ranges 1 Hz to 20 Hz and 100Hz to 2 Hz. The
equaliser may be switched pre or post the channel insert point.
Sixteen mono aux controls may be individually assigned to pre or
post-fade operation with four further stereo Aux sends. The pre/post
switching on the stereo Aux sends change the signal sent to the
stereo busses from post fader to pre fader while retaining the post
pan stereo image. Aux send on/off switching may be controlled via
the automation system.
The module Pan control has a constant power response while a
Mute switch mutes the channel at all points except the insert send
and pre insert/EQ direct output. An Insert switch connects the input
insert return to the input channel either before or after the EQ and
is under automation control. The ST switch connects the channel
post fader signal to the stereo buss via the Pan control and is also
under automation control.
MIDAS XL401 INPUT MODULE
MIDAS XL402 INPUT POD
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The XL405 Stereo Input Pod is a comprehensive mic/line input stage
featuring switchable phantom power, a 25dB pad and separate
phase switches for the left and right signal paths. A pair of 11-
segment meters monitor the signal level in both channel paths.
A switchable Hi Pass filter affects both channels is variable over the
ranges 10Hz - 400Hz. A stereo Balance control offers left/right
balance adjustment over the range +/-10dB. The XL405 provides a
Left and Right Direct output which may be internally lin ed to be pre
or post insert/EQ.
MIDAS XL405 STEREO INPUT POD
MIDAS XL404 STEREO INPUT MODULE
Fed from the XL405 Input Pod, the XL404 Stereo Input Module
incorporates a classic MIDAS 4-band equaliser that features two
fully parametric mid sections plus variable frequency high and low
shelving filters with adjustable frequency ranges (2 Hz to 20 Hz and
20Hz to 200Hz respectively). The two fully parametric mid range
sections can be varied over the ranges 400Hz to 8 Hz and 100Hz to
2 Hz. The equaliser may be switched in or out of the signal path
manually or via the console automation.
Sixteen mono aux controls may be individually assigned to pre or
post-fade operation with four further stereo Aux sends. The pre/post
switching on the stereo Aux sends change the signal sent to the
stereo busses from post fader to pre fader while retaining the post
pan stereo image. Aux send on/off switching may be controlled via
the automation system.
Each of the two signal paths has its own constant power response
Pan control while a Mute switch mutes the channel at all points
except the insert send and pre insert/EQ direct output. An Insert
switch connects the input insert return to the input channel either
before or after the EQ and is under automation control. The ST
switch connects the channel post fader signals to the stereo buss via
the Pan control and is also under automation control.
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Each of the input channels is controlled via a VCA fader providing
level adjustment from off to +10dB. An Isolate switch disconnects
the channel from the automation scene recall system while a Safe
switch disconnects the input channel mute from the eight mute
busses.
A large Solo button sends the input channel signal to the PFL mono
and AFL stereo busses. If pressed briefly, the switch will latch on or
off, but if held for more than one second, latching is disabled and the
action becomes momentary.
Ten illuminated Group Assign switches run alongside the fader and
provide three distinct functions. Firstly, they assign the post fader
signal to the 16 audio groups (in pairs) in conjunction with the pan
control. Their second function is to assign the input channel to the
10 moving fader controlled VCA subgroups. Finally, they are also
used to assign the input channels to the eight automated mute
groups. The function of these switches is selected globally from the
central control panel and a loc function is provided ma ing it
possible to loc all the input channel group assign switches to
prevent inadvertent operation. It is still possible to view the switch
status of all three group types when the loc mode is active.
MIDAS XL403 INPUT VCA FADER
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The XL414 Group Module is a flexible but intuitive Group master
control strip incorporating two separate rows of controls addressing
two adjacent groups. Fader Change Over swaps the mono aux
busses with the audio group busses for monitoring applications.
There's also an aux return, which can function at mic or line level
with individual bass/treble EQ, phantom power switches, gain and
pan controls, and switches for Mute Solo and Sub.
Sub disconnects the returns from the stereo master buss and
instead routes them to the audio subgroups below, bypassing the
pan control.
Grand Master VCA switches A and B assign the audio subgroups to
the two Grand Master VCA subgroups. A further ban of Auto Mute
Group switches assign the audio subgroups to the eight auto mute
groups. Safe switches disconnect individual audio subgroups from
the auto mute busses.
A tal switch connects the audio subgroups to the Comms module.
When the TALK TO GROUPS switch is on, the Comms module is
active and it is possible to route its oscillator, pin noise, external
input, tal mic or comms mic to the audio subgroups.
An Ins switch connects the group insert return signals to the audio
subgroups while the ST switch sends the post fader audio subgroup
signal to the stereo mix buss via the pan control.
The Mute switch, which is under control of the automation and
automute group, mutes the audio group at all points other than the
insert send.
A large Solo button sends the group signal to the PFL mono and AFL
stereo busses. If pressed briefly, the switch will latch on or off, but
if held for more than one second, latching is disabled and the action
becomes momentary.
MIDAS XL414 GROUP MODULE
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The XL412 Output Meter Pod provides full metering functions for the
16 output groups, the 16 aux master sends and 16 line level returns.
The Pod also provides pea metering of the master stereo, solo, PFL
and local buss matrix outputs and the stereo aux send outputs. It
employs high visibility, 20-section LED meters and a master Global
Meter Changeover button on the Comms module provides two
distinct metering modes (Output level or buss amplifier level). The
Aux switch changes the meter source for both meters from group
outputs to aux send while the Return switch changes the function of
both meters so that they monitor the post fade line return signals. If
the Aux switch is not activated, the meters revert to monitoring the
audio Group outputs regardless of the Return switch status. The 20-
segment precision LED meters normally monitor the pea levels of
the group, aux or returns as selected. When the Global Meter
Changeover switch on the Comms module is activated, the meters
monitor the group buss, aux buss or line level returns as selected.
The Master meters normally trac the stereo left and right output
levels, but when the Global Meter Changeover function is active,
they instead monitor the left and right buss amplifier levels. The
Solo meters monitor either the pea stereo AFL levels or the PFL
and local output levels as selected via the PFL Monitor switch on the
Comms module.
Individual changeover switches for the left and right meters are
located above each pair of Matrix meters enabling the meters to
monitor the stereo aux send outputs in place of the matrix outputs.
The meters normally follow either the stereo aux outputs or the
matrix outputs as selected unless the Global Meter Changeover is
active, in which case the meters monitor the matrix buss or stereo
buss amplifier levels.
MIDAS XL412 OUTPUT METER POD
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The XL413 Master Fader section provides moving fader control of
the 10 VCA subgroups plus the two Grand Masters with solo and
metering facilities. Isolate switches isolate the corresponding Group
or Grand Master A/B VCA from the automation system. VCA Mute
switches mute any post fade signal assigned to corresponding
Group/Grand Master A/B.
The VCA Solo switches ma e it possible to monitor the
corresponding VCA subgroups or Grand Master A/B by creating a
corresponding Audio subgroup on the stereo AFL busses. All input
channels and line returns assigned to a VCA subgroup will be
summed onto the solo busses when the VCA Solo is active. If
pressed briefly, the switch will latch on or off, but if held for more
than one second, latching is disabled and the action becomes
momentary.
MIDAS XL413 MASTER VCA FADER
The XL421 Master Module provides fader control over the main mix
outputs as well as two separate recording outputs. Record 1 and 2
are stereo and have a single level control each as well as a mute
button. A 10 section LED meter shows the pea level of whichever
channel is currently loudest.
A large Mute All button mutes all the console outputs, effectively
turning the console off. A Solo In Place switch the mono, left and
right master signals (pre-insert) and replaces them with the signal
on the stereo AFL solo busses. The master matrix feeds are not
affected by this operation.
The mono output, which has its own Mute button, is controlled by an
independent fader and is monitored post-fader by a high resolution
20-section LED pea level meter.
When the Global Meter Changeover switch is active, the meter
monitors the output of the mono buss summing amplifier. The VCA
fader switch lin s the mono fader to the stereo master fader so that
they trac together.
A Solo button is provided that features the same momentary or
latching action as other Solo buttons on the console while the mono
Ins switch feeds the mono insert return into the mono mix.
A further Aux I/P Mute button mutes all the group module aux line
returns.
The main stereo fader has separate Mute and Solo buttons for each
channel along with a stereo balance control that provides from off to
+3dB.
A Matrix Send Pre button feeds a pre fader/pre-insert signal from
the stereo busses to the matrix modules. Normally the matrix
modules is fed from the post fade signal.
MIDAS XL421 MASTER MODULE
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The XL431 Communication Module, which is Clearcom compatible,
provides central control over the console's Tal bac functions, test
oscillator, Auto Mute Group master switching and Solo/PFL mode
selection. It also allows control over the local output level and
headphone output level as well as headphone muting and Solo
On/Clear switching. The internal oscillator section can be swept
from 100Hz to 10 Hz as well as Pin noise and the oscillator output
may be switched to the tal system.
Six separate Tal buttons allow the tal signal to feed any
combination of the auxes, groups, matrix, mono, left and right
busses. A balanced tal mic input is fitted along with a tal button
that automatically dims the local outputs by 20dB to prevent
howlround. A Lin switch connects the tal system into the comms
system such that the tal mic can send and the headphones and
local output can receive 'Clearcom' signals as well as the headset.
A large illuminated Call button at the top of the module shows when
a Clearcom signal is expected and also sends a DC pulse when
pressed to illuminate the Call lamps on connected Clearcom
devices.
Eight large illuminated Auto Mute Group Master switches function
mute any input channel or audio group assigned to the
corresponding mute group.
A Solo Add mode switch enables multiple sources to be solo'd
simultaneously while the PFL Monitor switch sends the mono PFL
solo buss signal to the headphones and local outputs instead of the
stereo AFL solo buss signal.
The global Meter Changeover switch affects all the meters on the
console except the comms and record meters. Normally, the meters
monitor pre-fade on the input channels and post-fade on all other
signals, but when this switch is active, the meters monitor the input
amplifier or buss amplifier signals as appropriate.
The local output level rotary control and the phones output fader
may have their functions swapped via the Fader C/O switch. The
corresponding mute switches are also exchanged in this mode.
A large Headphone Mute switch mutes the phones outputs while the
Solo On/Clear switch illuminates when any solo switch other than a
Master Solo switch is active and, when pressed, it clears any active
solo switches (other than master solo switches).
MIDAS XL431 COMMUNICATION MODULE
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The XL4 features a clearly presented and flexible matrix control
system. The eight matrix outputs may be derived from the 16 audio
groups as well as the left and right mix signals, providing a full 18 x
18 matrix. This module also includes the Stereo Aux Masters. These
have their own outputs at all times, but may also be routed directly
into the matrix to provide an additional 48 x 8 matrix sourced directly
from the input channels.
The XL441 Matrix Module is mainly occupied by two rows of 16
individual Mix controls which adjust the audio subgroup levels over
the range +6dB to off. When the Changeover switch on the Group
module is active, the mono aux buss feeds the matrix in place of the
audio sub group.
The stereo Aux Master control at the top of module sets the stereo
aux output level while the adjacent MTX switch directs the pre-fader
stereo aux buss signals to the matrix mix for monitoring
applications.
A stereo Aux Mute switch is provided along with a stereo aux Solo
switch that sends the stereo aux signals to the PFL mono and AFL
stereo busses. If pressed briefly, the switch will latch on or off, but
if held for more than one second, latching is disabled and the action
becomes momentary.
A Global Pre On switch beneath the Mix control section changes the
audio subgroup signals routed via the matrix mix controls from
post-fader to pre-fader.
Master Left and Right controls enable the master left and right
signals to be added to the Matrix mix.
A Tal button connects the matrix busses to the comms module, and
when the Tal to Matrix switch on the Comms modules is active, it is
possible to route pin noise, the tone oscillator, the tal mic or an
external input to the matrix mix. The Ins switches connect the
matrix insert return signals to the matrix mixes while the matrix
Mute switches (which are under automation control) mute the
matrix outputs but not the insert sends.
The matrix Solo switch sends the signal to the PFL mono and AFL
stereo busses. If pressed briefly, the switch will latch on or off, but
if held for more than one second, latching is disabled and the action
becomes momentary. Note that these switches do not operate when
the console is in Solo In Place mode. This is a safety feature to
prevent the matrix outputs being inadvertently routed bac to their
own inputs via the master matrix feed.
MIDAS XL441 MATRIX MODULE
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The MIDAS XL4 utilises specially developed microprocessor
technology, enabling it to deliver an unprecedented feature set for a
live console, whilst at the same time retaining the loo , feel and
ease of use of a traditional console. The rate at which scenes can be
changed is a concern to many users but the XL443 is capable of
updating itself over fifty times a second ma ing recall virtually
instantaneous (around 20mS). Furthermore, because the MIDAS XL4
is a 'computer assisted' console, all its audio functions may be
controlled without the central control CPU when necessary.
The CPU system was developed in conjunction with console
automation specialists OUTBOARD ELECTRONICS Ltd where each
input channel has its own microprocessor. Two further
microprocessors handle the VCA master section and the central
control section. This means that a standard 48 input console
employs no fewer than 50 microprocessors providing both high
speed operation and a high degree of protection. In the event that a
microprocessor should fail, the others will continue to operate
normally. Furthermore, the software comprises a number of
smaller programs which are easier to test and debug, minimising
the chances of software problems.
Key functions, such as MUTE switches, whilst they can be over-
ridden by microprocessor control, will wor without the intervention
of a microprocessor. Reliability in a live performance environment is
paramount to the MIDAS philosophy.
MIDAS XL443 AUTOMATION CONTROL
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THE CENTRAL CONTROL UNIT
The MIDAS XL4 Automation is controlled from the Central Control
section to the right of the VCA Master faders. Control of the system
is via eight buttons and a 'jogwheel' with two displays (a four
character 'scene number' display and an eight character 'scene
name' display) providing the user feedbac . The main 1 Meg of
internal memory is battery bac ed up and may also be downloaded
on to a memory card.
At the top of the panel are the 'AUDIO', 'MUTE', 'VCA' & 'LOCK'
switches which determine the operating mode of the input fader.
With the 'AUDIO' mode enabled, the fader bay switch ban controls
the audio group routing. With the 'MUTE' mode enabled, the fader
bay switch ban controls the automute assignments while with the
'VCA' mode enabled, it controls the VCA assignments.'LOCK' allows
the three operating modes to be called up, (allowing the state of the
switches to be seen), but changes are not permitted. On power up,
all functions which modify the stored data are disabled until the
system has been unloc ed using a user password.
The automation follows a Scene-based paradigm and when storing
a new scene, the system will inform the user whether the scene is
being written into an empty location or overwriting an existing
scene. Recalling scenes is achieved very simply using the 'LAST',
'NOW' and 'NEXT' buttons, and also using the jogwheel. MIDI scene
recall is also possible.
Pressing the 'NEXT' button steps to the next scene number in
memory and recalls it to the console. After the last scene has been
recalled, pressing 'NEXT' displays 'END, indicating that no other
operation will occur.
Pressing 'LAST' moves to the previous scene and recalls it to the
console. Up to 2000 automation scenes can be stored where a scene
includes the channel routing, all major channel control functions
and all major output mutes. When the system is loc ed, the
jogwheel can only access the numbers of scenes that exist in
memory - no operations other than recall are available while the
system is loc ed.
The console also has a very practical MIDI implementation, enabling
scenes to be recalled via MIDI Program change messages. MIDI
Program changes may be mapped to the scene numbers required
be recalled and the MIDI channel may be set in the System menu.
Using the MIDI Out function, it is possible to set up eight MIDI Out
messages to be automatically transmitted when a scene is recalled.
These may be used for such tas s as switching patches on
externally connected MIDI controlled effects units.
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The Midas XL432 Communications Module controls the test
oscillator/noise generator, the tal bac system, the Auto mute
masters, the Solo/PFL functions and local monitoring. The
illuminated Call switch warns of incoming Clearcom calls as well as
transmitting a DC pulse when pressed so as to warn any connected
Clearcom devices that an outgoing call is about to be made. A
continuously variable 100Hz to 10KHz test oscillator can feed either
the oscillator output or the tal system and a calibrated 1 Hz setting
is provided. Pin noise is available as an alternative to the oscillator
and full oscillator/pin noise level control is available over the range
+ 6dB to off.
The Tal bac Input features an auto ranging gain system and can be
routed to the Auxes, to any group buss, to any matrix buss, to the
mono master bus or to the stereo master bus. An oscillator
changeover switch routes the oscillator/pin noise signals to the tal
system in place of the tal mic signal.
A Comms On switch sends the comms headset mic signal to the
comms output/input connector while Lin connects the tal mic to
the intercom such that the tal mic, headphones and PFL spea er
output can send and receive (respectively) Clearcom signals as well
as the headset. A Comms level control provides continuous
adjustment of the incoming Clearcom signals feeding the headset
over the range + 6dB to off. When in Lin mode, the Comms On switch feeds the tal mic into the comms system using the side
tone cancel circuit to prevent howlround.
Tal External provides continuous adjustment of the tal mic level feeding the external tal output while the Tal External switch
connects the tal mic to the tal external output while dimming the local monitor outputs by 20dB to prevent howlround
Tal Internal adjusts the tal mic level feeding the internal tal system while the Tal Internal switch routes the tal mic to the
internal tal system and dims the local monitor outputs by 20dB. Note that none of the tal internal or external controls affect
signals sent to the comms system when in LINK mode.
Eight large Auto mute Master switches activate the mute circuits on any appropriately mute group, assigned input channel or audio
group.The module includes a comprehensive solo PFL section where selecting Solo Add mode enables multiple channels
simultaneous access to the Solo busses. With Solo Add mode off, pressing any Solo switch will cancel any other active Solos (except
for the Master Solo switches - see XL421 Master Module).
PFL to Monitor connects the PFL signals to the monitor outputs in place of the 2-trac return or master left and right signals
whenever a Solo is active. This switch overrides the Solo To Monitor switch directly below it. Unless overridden by the PFL To
Monitor switch, the Solo To Monitor switch connects the Solo/AFL signals to the monitor system outputs in place of the 2-trac
return or master left and right signals whenever a Solo is active.
The large Solo / Clear button illuminates when any Solo switch (except a master Solo switch) is active. When pressed, it clears any
active Solo switches (except master Solo switches).
The Global Meter Change Over switch changes the function of all the
console meters (except the Comms meters and the Record meters)
from their default of monitoring pre-fader levels on the input
channels and post-fader levels for all other signals. When Global
Meter Change Over is active, the meters instead monitor levels at the
input amplifiers or buss amplifiers (as appropriate) for all signals.
The 2-Trac Return Change Over switch sends the 2-trac input
signals to the monitor system outputs in place of the master left and
right signals.
An Intercom Level control adjusts the level of the Clearcom signal
levels fed into the headphones and PFL spea er output while
External 1 controls the level of signals fed into External input 1.
Signals from the PFL buss are adjusted using the PFL Level control
and the External 2 control adjusts the level of signals fed into
External input 2. PFL LS Level provides continuous adjustment of
signals sent to the PFL spea er output and Headphone Source
Change Over sends PFL signals to the headphone amplifier in place
of the monitor signals. The headphone amplifier is fitted with a
variable level control.
An A/B Spea er Change Over switch routes the stereo monitor
signals from the 'A' spea er outputs to the 'B' spea er outputs.
The output to the local monitoring system is controlled by the Local
LS Level nob, which provides continuous adjustment of signals sent
to the 'A' or 'B' monitor spea er outputs. Phase reverses the phase
of the left hand monitor signal and Mono sums the left and right
monitor signals with a 4.5dB summing loss.
The left/right Crossover switch routes the left hand monitor signal
into the right channel output spea ers and the right hand monitor
signal into the left channel output spea ers. A -20dB Dim switch with
indicator dims the monitor spea er outputs by 20dB and illuminates
to show that the tal system has dimmed the monitor spea er level
(to prevent howl round).
Left To Both and Right To Both switches enable either output source
to feed both channels while separate Mute Left and Mute Right
switches ma e it possible to mute either output independently.
XL432 BROADCAST COMMS MODULE
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XL4 INPUT MODULE BLOCK DIAGRAM
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XL411 GROUP MODULE BLOCK DIAGRAM
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XL421 MASTERS MODULE BLOCK DIAGRAM
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XL431 COMMS MODULE BLOCK DIAGRAM
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XL441 MATRIX MODULE BLOCK DIAGRAM
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XL432 BROADCAST COMMS MODULE BLOCK DIAGRAM
KT Midas XL4 (am quarto) 24pp 30/4/01 2:28 pm Page 20

Input Impedance Mic 2K Balanced
Line 20K Balanced
Input ain Mic Continuously variable from
+ 15dB to + 70dB
( all faders at 0dB ) Mic + Pad Continuously variable from
- 5dB to + 50dB
Channel Line Input Continuously variable from
- 20dB to + 20dB
All other Line Inputs 0dB
Maximum Input Level Mic + 6dBu
Mic + Pad + 26dBu
Channel Line inputs + 26dBu
All other Line Inputs + 21dBu
CMR at 1KHz Mic ( gain + 60dB ) >70dB
Mic + Pad ( gain + 40dB ) >50dB
Line >60dB
Frequency Response Mic to Mix ( gain + 60dB ) + 0dB to - 1dB
( 20 to 20KHz )
Line to Mix 0dB to - 1dB
Noise ( 20 to 20KHz ) Mic EIN ref. 150 Ohms ( gain + 60dB ) - 129dBu
Line EIN ref. 150 Ohms ( gain + 10dB ) - 100dBu
System Noise Summing Noise
( 20 to 20KHz ) ( 12 channels routedwith faders down ) - 86dB
Line to Mix Noise
( 12 channels routed at 0dB, pan centre ) - 81dB
Summing Noise ( 48 channels routed
with faders down ) - 80dB
Line to Mix Noise
( 48 channels routed at 0dB, pan centre ) - 75dB
Distortion at 1KHz Mic to Mix ( + 60dB gain, 0dBu output ) <0.03%
Line to Mix ( 0dBu ) <0.03%
Crosstalk at 1 KHz Channel to Channel <- 100dB
Mix to Mix <- 90dB
Channel to Mix <- 90dB
Maximum Fader attenuation >90dB
Output Impedance All Line Outputs 50 Ohms
Balanced Source to drive >600 Ohms
Headphones To drive >8 Ohms Unbalanced
Comms ( Bi - directional ) 600 Ohms Nominal Unbalanced
Maximum Output Level All Line Outputs + 21dBu
Headphones + 21dBu ( 8W into 8 Ohms )
Comms ( Bi - directional ) 10dBu
XL4 TECHNICAL SPECIFICATIONS
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