90

Appendix C: Application Notes

There are a number of solutions to this problem:

•Reduce the amplifier’s input attenuators to a level where the amplifier and console clip at the same point.

For example, the input sensitivity is 0dBu, setting the input attenuator on the amplifier to -21dB would mean that the console would clip at the same time as the amplifier. So, operating the console sensibly the amplifier should never be clipped. The console LED meters will also accurately show the available headroom left in the entire system.

-21dB may not be a sensible level to set as many operators choose not to run the output of the console so high. That is personal choice.

•Run the output of the console at a level below 0dBu.

This solution means that you won’t get full benefit of the console, and may suffer a reduced signal to noise ratio, especially when running over long signal cables. But the amplifiers should be saved from clipping.

As with many things in the audio world, use your ears. If something sounds distorted, do the following:

Problem

Action

 

 

Input gain is too high

Lower input gain

EQ has too much boost

Disable EQ

EQ has too much cut and has a high

Disable EQ

input gain

 

There is too high a level entering the inserted processor

The loudspeaker controller or amplifiers are clipping

Disable insert

Check clipping indicators on amplifiers, etc.

Routing

The flexible routing of the VeniceU allows the console to operate as both a FOH and monitor console, or as a combination of both. For operators that haven’t got a great deal of experience, here are a few helpful guidelines.

FOH mode

The group-aux changeover switch on each group (see “Group-aux changeover” on page 60) should be released (in the off position) so that the group fader controls the group bus signal.

Uses for groups vary, but include:

•Submixes Submixes are a common way of saving time (and possibly embarrassment) when using a large number of microphones at once. For example, multiple microphones for choirs, drum kits/percussion, orchestras, etc.

The channel to be submixed should be routed to the group and any aux sends ONLY (that is, not to the master L-M-R). The fader is, as normal, used to set the relative level between the channels in the submix. The group chosen for the submix should then be routed to the master L-M-R and panned as required.

VeniceU Operator Manual

Page 99 Page 101
Page 100
Image 100
Midas Consoles U24, U32, U16 technical specifications Routing, FOH mode, Problem Action
Page 99 Page 101

U32, U24, U16 specifications

Midas Consoles has firmly established itself as a leading brand in the professional audio equipment market, particularly known for its innovative mixing consoles. Among its impressive lineup, the U series, including the U16, U24, and U32 models, stands out for their remarkable features and cutting-edge technologies that cater to both live sound and studio environments.

The Midas U16 is a compact yet versatile mixing console, offering 16 input channels suitable for various applications. Despite its smaller footprint, the U16 does not compromise on sound quality or functionality. It features high-definition preamps that ensure clean and transparent audio, while its processing engine allows for dynamic EQ and multi-effects, providing audio engineers with creative flexibility. The console comes equipped with an intuitive user interface, featuring a touch screen and easy-to-navigate controls, facilitating quick adjustments during performances.

Moving up in size, the U24 model provides 24 input channels, expanding the mixing capabilities for larger productions. The U24 retains the same premium-quality preamps as the U16, ensuring that every microphone and instrument connected to it is captured with precision and clarity. This model enhances the user’s experience with additional routing options and more extensive onboard processing capabilities. The inclusion of a dedicated effects engine allows for real-time manipulation of audio, making it ideal for live sound situations where adjustments need to be made on-the-fly.

At the top of the range, the U32 offers the ultimate in power and flexibility with 32 input channels. Designed for larger venues and complex audio setups, the U32 is equipped with additional features that cater to professional audio engineers' needs. This console includes advanced digital snake technology, allowing for seamless integration with stage boxes and remote connect capabilities. Furthermore, the U32 can support various plug-ins, making it versatile for different genres and sound profiles.

Across all models, Midas Consoles emphasizes robust construction and reliability, ensuring longevity and peak performance even in demanding environments. The range features a wealth of connectivity options including USB interfaces for direct recording and playback, as well as extensive routing possibilities to accommodate diverse setups.

In summary, Midas Consoles' U16, U24, and U32 models represent the epitome of modern mixing technology, characterized by their exceptional sound quality, intuitive interfaces, and comprehensive features tailored for professional audio applications. Whether it’s an intimate gig or a large festival, these consoles provide the tools needed to deliver outstanding audio experiences.
Top Page Image Contents