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产品展示首页 > 产品展示 > 》调音台系列 > MIDAS > PRO Series Live Audio System

MIDAS PRO2

 MIDAS PRO2

MIDAS PRO2 Front

MIDAS PRO2

MIDAS PRO2 rear

 

 

产品介绍 想象这样的一套混音系统,在处理速度与工作流程方面呈现出前所未有的一体化控制水平。想象这样的一套混音系统,最直观而音响师又易于驾驭的用户界面,但预算只跟常规的调音台差不多。想象这样的一套混音系统,以上都拥有,并且听起来声音像Midas。很简单,不需犹豫,这就是Midas PRO2!
在Midas数字调音台家族里,PRO2与PRO2C属于中小型和价格不高的产品,然而,它们表现出来的品质,无论是技术还是混音艺术的理念,都处于前沿地带。
PRO2有多种的操作方法,音响师可以根据自己的经验、能力和想法来使用。在“常规”模式下,PRO2的使用方法就像大多数的数字调音台一样。初次接触Midas数字调音台的音响师,只需轻松地享受PRO2所带来的“采样率同步”音频质量,置身舒适的环境里操作调音台。当逐步熟悉后,音响师可以使用高级导航功能,进入更加简单而又快速的工作流程中。数字或模拟,彼时已无界限!
PRO2还有一款更小规格的PRO2C。PRO2C本质上与PRO2是一样的,唯一的区别是,控制界面的物理尺寸小了。作为一款与大台子一样能够处理64个输入通道的调音台,PRO2C的尺寸却不比一般的24通道模拟调音台的大。
PRO2除了56个可控全处理输入通道,还有8个辅助返回通道,都带有4段参量EQ和插入点。这8个辅助返回通道可以用于PRO2的内部效果器返回,或作为话筒输入通道 - 如果系统网络内有足够的I/O硬件的话。
总数为64的输入通道可路由分配至27个混音输出母线。这些混音母线包含16个用户自定义的辅助(aux)母线-mix(辅助输出)、group(编组输出)或mix minus,8个matrix(矩阵)母线。矩阵母线直接源于输入通道或编组,并且能变身为额外的8个辅助母线(返送混音母线和效果发送)。全部母线都可以立体声连接(除了Mono外)。全部的内部音频接线能够路由至多个音频接口终点,并且内部音频接线的配置可以是基于场景(scene)的。
调音台采用Midas特有的坚硬钢框架,与PRO6和XL8的工程学原理一样。框架安置模块化的双电源,只需一个便能满足使用要求。电源自动适应电压,自动转换备份,电源接头带锁,并且支持热插拔。
DL251音频接口箱属于PRO2系统的标配,带有48路Midas话放的mic/line输入,16路模拟输出,全部为XLR接口,标配双电源。DL251与调音台的连接距离长达100m。可以根据应用的需要从Midas的大量选配件中选择扩展用的接口箱,包括DL431话筒分配器。 产品特性 56 mic/line输入,Midas话放
● 64同时处理输入通道
● 32模拟输出(包含本地两组立体声监听输出)
● 3(立体声对)AES3输出
● 2(立体声对)AES3输入
● 27母线,采样率同步,相位一致
● 6台多通道效果器
● 多达28通道Klark Teknik DN370 31段GEQ
● 15”强光型高亮液晶显示屏
● 8 VCA
● 6 POP编组
● 192 MCA(Mix Control Association) 编组
● 96k,40bit浮点处理

 

MIDAS  PRO2 Overview

The PRO2 is designed to work in conjunction with any of the MIDAS digital I/O units. Each PRO2 Touring Package ships complete with a MIDAS DL251 stage box, providing 48 MIDAS mic/line inputs, and 16 analogue XLR outputs on stage, in addition to the PRO2’s 8 mic/line inputs and 16 XLR analogue outputs on the back of the console itself. Two AES3 inputs, three AES3 outputs and dual-redundant power supplies, all supplied as standard, complete the hardware configuration.

PRO2 is easy to configure and operate and is identical to the PRO2C apart from an additional 8 input faders. Engineers who are new to MIDAS digital can relax, enjoy the PRO2’s sample-synchronous audio quality, and mix from well within their comfort zone. Engineers already familiar with MIDAS can just load their existing show file straight into the PRO2, regardless of which MIDAS digital console it was created on, and carry on working.

In addition to the PRO2’s 56 primary input channels, PRO2 also features 8 aux returns, all of which feature 4-band MIDAS parametric EQ and insert points. These 8 aux returns can be used as returns for the PRO2’s internal FX processors, or as additional mic channels, if sufficient mic inputs are available on the I/O hardware.

A total of 64 input channels have routing to 27 phase-coherent mix buses, which comprise 16 user-configurable buses (which can be mixes, subgroups or mix minus groups), and 8 matrix buses. The Matrix buses source from inputs, as well as groups, and so can be used as 8 additional auxes (monitor mix and FX sends) which provides a total of 24 mixes (plus L, R & Mono) for monitor mixing duties. All buses can be linked as stereo pairs (except the mono bus).

As with all MIDAS digital consoles, the audio paths can be routed to multiple destinations and the console format can be reconfigured live on a scene-by-scene basis.

  • ● 6 x 96 kHz AES50 ports, providing an additional 156 inputs and 166 outputs
  • ● 8 integral mic/line inputs with MIDAS mic preamps
  • ● 64 simultaneous input processing channels
  • ● 32 analogue outputs (including 16 on the stage box and 2 stereo local monitor outputs)
  • ● 3 AES3 outputs
  • ● 2 AES3 inputs
  • ●27 sample-synchronous, phase-coherent mix buses
  • ● Up to 12 multichannel FX engines
  • ● Up to 28 KLARK TEKNIK DN370 31-band Graphic EQs
  • ● Full-colour 15" daylight-viewable display screen
  • ● 8 VCA (Variable Control Association) groups
  • ● 6 POPulation groups
  • ● 96 kHz 40-bit floating-point processing throughout

 

 

 

 
MIDAS PRO2 Audio Quality

 MIDAS Audio Quality

The MIDAS reputation for fantastic audio quality has evolved over 40 years of development and research.

By continuing to design the world's best live sound mic preamps through use of superior components, MIDAS has carried this tradition into the digital realm. Adding the best converters and custom processing algorithms to the mix, MIDAS takes audio quality to another level.

A major problem affecting many digital consoles is a lack of attention to delay management. All digital processing takes time to run.

Mix engineers working on analogue consoles routinely combine signals with different signal paths and processing, and expect to do the same with digital mixers. On most current digital consoles, combining signals in this way leads to the summing of signals that are partly out of phase. MIDAS digital systems are the only live sound systems in the world to have a comprehensive and automatic latency management system. Which, in addition to managing all internal routing and processing latency, also includes compensation for additional A/D & D/A conversions required when connecting external analogue inserts. This means that all audio samples are synchronised before summing, resulting in absolute phase coherency at all outputs.

MIDAS digital consoles feel, as well as sound superb. All the variable controls on the console are genuine analogue high-precision potentiometers, not mechanical encoders. These access the processing algorithms through precision instrumentation A/D converters, and MIDAS I/O and DSP units can be freely distributed into multiple locations. In particular, I/O units can be placed exactly where they are needed.

Every transition of a network adds delay. MIDAS AES50 networks have only 70 microseconds of latency per hop, so even a multi-hop routing has negligible aggregate delay (latency), making it perfect for in-ear monitoring. All inputs and all outputs are time-aligned to sample accuracy, no matter where they are in the network or how they are routed. This is another major contributor to the performance of a MIDAS digital console and that magical MIDAS sound.

Over 40 years of audio mixing console development and research
Comprehensive and automatic latency management system including compensation for external analogue inserts
MIDAS custom interpolation algorithms
Comprehensive automatic time alignment
KLARK TEKNIK's SuperMAC implementation of AES50 for incredibly low 70 microseconds of latency per link
 
 
MIDAS PRO2 Ergonomics
 Ergonomics
Display screen
 
The high-resolution screen remains visible even in direct sunlight. In this aspect, the MIDAS’ visual support is exceptional, as most conventional consoles become difficult, or impossible to operate in high ambient lighting.
 
The screen provides visual feedback for the entire system. Pressing the HOME key (just to the left of the assignable controls) instantly displays the console overview screen, which keeps all vital information (all metering, all fader positions, mutes and solos) in view at all times.
 
Detail panel area
 
The detail panel is a vertically oriented channel strip, with an almost identical layout to the PRO2, 3, 6 and 9. The controls are configured in a logical, signal-path sequence and are easily identified by their relative positions. Both analogue users and digital adopters will find no difficulty using the large multi-colour LCD channel select buttons for navigating the console.
 
 
MIDAS PRO2 Mic Pres
Mic Pres
The MIDAS microphone preamp is the one by which all others are judged. Still built from discrete components, and still based on the designs which were so successful in the legendary MIDAS analogue consoles such as the XL3, XL4 and Heritage, the current expressions in the XL8 sound better than ever.

Whether you want pristine, transparent reproduction, or that renowned MIDAS warmth and colouration, MIDAS’ dual (analogue and digital) gain stages enable you to shape the mic preamp's character according to your own preference. All MIDAS digital consoles feature two input gains per channel. First is the remote analogue gain for that wonderful MIDAS mic preamp, and the second is a digital trim. Set the analogue gain for the desired amount (if any) of that famous MIDAS “warmth”, then use the digital trim to achieve your preferred gain structure.

Unique MIDAS sound
Based on MIDAS’ legendary analogue mic preamps – XL4, XL3 and Heritage Series
Both analogue and digital gains
 
 
 
 
MIDAS PRO2 VCA and POPulation
 
 VCA and POPulation
With the advent of digital technology, channel counts and processing features have grown to a point where it is no longer practical to have all controls physically available at the same time. Additionally, the logistical advantages of smaller control surfaces are becoming increasingly attractive. MIDAS’ unique approach to solving this problem is to mirror the natural work flow used by mix engineers and to provide control and supporting feedback of system status at all levels, from the highest overview to the finest detail. This encourages the development of a mental picture, or “Mind Map”, of the whole system, even though focus may only be required on limited, specific functions.

For example, channels by default are not layered but scrolled. By being scrolled, the console displays act as a window onto the available channels in the system and allow you to think of the channels in a simple linear progression, rather than forcing you to remember which layer contains the channels. This scrolled format brings the console to you, rather than forcing you to search for specific elements. 

But this is only the beginning. 

At the heart of MIDAS console navigation are the VCA and POPulation groups, which provide primary access to multiple channels (typically grouped into related clusters by mix engineers). To access all the channels belonging to any of the VCA or POP groups, merely press the select switch. Selecting a VCA or POP group will bring all of the members of that group to the designated area of the control surface, populating from the VCA area outwards. If the group has more members than visible channels, the group can be viewed by scrolling the input bay. This work flow is applied to every area of the console, ensuring consistent ease-of-use and appropriately fast access to all controls.

To help further improve the “Mind Map”, live sound engineers have typically used colour when navigating mixing consoles by applying different-coloured adhesive tape and swapping coloured fader knobs to help make console navigation faster and more intuitive. MIDAS have taken this established principle of channel recognition and applied it to VCA and POPulation groups with assignable colour coding and digital write-on buttons. 

VCA and POPulation groups both have assignable colour coding and digital write-on buttons
VCA Groups allow access to all the channel faders belonging to any of the VCA groups at the press of a switch
POP (POPulation) groups can contain any combination of channels that you want to access instantly at the press of a switch
VCA and POP Groups encourage the development of a mental picture, or “Mind Map”, of the whole system
Selecting a VCA or POP group will bring all of the members of that group to you, rather than you having to go looking for them
Input channels can be viewed either by scrolling the input faders or by pressing the EXTEND button, which will populate the VCA faders with additional members of that POP group
 
 
 
MIDAS PRO2 Equalisation
Equalisation
MIDAS digital EQ features fully-interpolated controls, which recreate the original phase shift as experienced when working on the world's best-loved analogue consoles. 

Each input channel has 4-band parametric EQ, with a choice of 4 different filter types for both the high and low filters. These powerful EQ options enable the user to employ EQ filters which emulate the sound of historic MIDAS consoles or to choose advanced digital filter types, freed of the limitations of analogue circuitry.

Fully interpolated controls
4-band parametric EQ
4 different filter types
 
 
 
MIDAS PRO2 Dynamics Processing
Dynamics Processing
The dynamics processing on the PRO2's input channels is identical to the much-acclaimed MIDAS XL8. Each input channel features a frequency-conscious gate and a choice of 4 different compressor algorithms. Further creative expression are available, as all 4 compressor algorithms feature variable knee, internal and external side-chain filtering, and colouration artefact options.

Output (bus) compression offers a choice of 5 different options. These 5 compression algorithms are designed to provide the engineer with a broad pallet of options for maximum creative potential, right down to the visual display on the screen changing to support the different styles. More dynamics processing options are available in the PRO2’s FX rack, including multi-band compression and dynamic equalisation.

XL8 dynamics processing
4 different input compressor algorithms
5 different output compressor algorithms
A wide choice of dynamics processing
 
 
 
MIDAS PRO2 FX
FX
The cutting-edge 40-bit floating-point DSP processing hosts a wide choice of virtual FX devices, which range from dual-stereo delay units, stereo modulation and many diverse reverb FX, to multiband compression, dynamic EQ and multichannel dual-function dynamics processing.

All FX processors are custom-designed to function within the MIDAS automatic latency compensation system. This ensures a phase-coherent, sample-accurate mix regardless of whether the FX devices are used as channel inserts or on a send-and-return basis.

In addition, delay FX can be individually configured to synchronise to the XL8 button. This synchronization makes on-the-fly changes to delay effects simple and painless.

40-bit floating-point audio processing
Custom-designed FX processors
Internal FX processors operate within MIDAS’ automatic latency compensation
 
 
 
MIDAS PRO2 Surround Sound
Surround Sound
In addition to normal stereo and SIS (Spatial Image System) operation, the console can operate in one of three surround sound modes:
Quad 4-Channel – L-R front plus L-R rear
LCRS 4-Channel – L-R-C plus single rear channel
Quad 6-Channel – L-R-C plus sub plus L-R rear
All three surround modes feature a divergence control to tailor the depth of the surround panning. Dynamic surround panning can be implemented using the consoles trackball, or the USB pointing device of your choice.
 
 
 
 
MIDAS PRO2 Navigation Mode
Navigation Mode
There are 4 modes of channel and mix bay navigation: FLIP Navigation, FX Navigation, GEQ Navigation, and MCA Navigation. These 4 options allow an engineer to easily and efficiently mix a large number of inputs on a compact control surface.

FLIP Navigation

When in FLIP navigation mode, and the FLIP button is engaged, selecting an output flips the input faders to become the input channel send levels to the selected output. The console will only populate with the input channels that are assigned to the selected output.

FX Navigation

When the FX navigation button is engaged, selecting an output which is patched to an internal FX processor, this mode will deploy that FX processor on the display screen and map the ASSIGNABLE CONTROLS to the FX processor. If FADER FLIP is also engaged, the input channel faders will become the contributions to the FX processor. If COLLAPSED FLIP is selected, the operator will only be presented with input channels that are sending to that FX processor.

GEQ Navigation

When the GEQ navigation button is engaged, selecting an output which has a GEQ assigned, this mode will present the GEQ on the VCA faders. Scrolling the VCA faders left and right will provide access to all 31 GEQ faders. If FADER FLIP is also engaged, the input channel faders will become the contributions to the selected mix. If COLLAPSED FLIP is selected, the operator will only be presented with input channels which are sending to that mix.

MCA Navigation

If the MCA navigation button is engaged, when an output (mix) is selected, the MCA faders for that output will be deployed on the VCA fader bank. When in Advanced navigation mode and MCA navigation is engaged, the MCA faders control the contributions of their members only to the currently selected bus. This is a unique and powerful mixing tool, which puts MIDAS in a class of its own for innovation and usability.

Total Flexibility

This navigation flexibility makes working with the console as simple as requirements dictate, or as deep and complex as a user desires. To further illustrate the concept, think of multilayered 3-D VCAs, or a mixing console with a bank of VCAs for each input! Both are valid starting points.

This workflow approach applies to every area of the control surface, ensuring ease of use and appropriately-fast access to all controls.
 
 
 
MIDAS PRO2 Automation
 Automation
One of the most critical requirements for theatre applications is the power and flexibility of console automation. The MIDAS PRO2 has taken into consideration these very specific requirements, and features the same automation software as the XL8, which is itself no stranger to Broadway! 

The PRO2’s automation system can store and recall up to 1000 snapshot scenes. These contain the audio parameter values for every control on the console as well as the network routing, configuration of the FX rack, and the format of the mixer itself, all of which is scene-specific. 

Hardware automation “safe” buttons are provided to enable the operator to quickly isolate selected processing areas from recall should this be required during a performance. In addition to these isolation functions, the store and recall of scenes can be “scoped” such that only the areas that the operator wants to store or recall are affected (all other controls remaining in their current state). 

Channel settings can be edited in advance of recall – across all scenes – from the SHOW EDITOR screen, and scenes can be re-ordered, inserted and deleted, simply and quickly, without overwriting their designation. Scenes can be recalled instantaneously, with no discernible drop in audio, or via complex crossfade options, including programmable surround-sound panning events.

MIDI input and outputs are provided, for control of external MIDI devices, or for recalling console events from an external MIDI source. All software versions, including stored shows on a USB stick, are both forward and backward compatible, i.e. a show created on one PRO2 can be loaded into another MIDAS console regardless of the software version on either system. PRO2 show files are also compatible with all other MIDAS digital console systems.

1000 snapshot scenes
Scene-specific routing
Scene store and recall can be ''scoped''
MIDI inputs and outputs provided
Software versions forward and back ward compatible
Show files compatible with any MIDAS digital console
 
 
 MIDAS PRO1 Patching
 

 

Patching

The PRO2 employs technology developed from the class-leading XL8 console and offers the same exemplary sample-synchronised audio performance.

PRO2 has up to 156 inputs x 166 outputs, with point-to-point routing anywhere within the network which can then be patched and routed on a scene-by-scene basis via a powerful snapshot automation system.

156 inputs x 166 outputs (max. capacity) point-to-point routing anywhere within the network
56 mic / line inputs with MIDAS mic preamps
Up to 64 simultaneous-input processing channels
32 analogue outputs (including 2 stereo local monitor outputs)
 
 
 
 
MIDAS PRO1 Third Party System Integration
Third Party System Integration
The MIDAS XL8 range and PRO Series systems incorporate several special features to aid real-world integration with other important sub-systems.
 
The MIDAS HyperMAC digital snakes, both Cat 5e and fibre optic versions, feature additional bandwidth for third party data transfer. Protocols supported include standard Ethernet traffic, MIDI messages and GPIO (General Purpose Input and Output signalling). This third party support offers great advantages because it avoids extra cables, extends the range of MIDI a long way beyond normal limits and provides an Ethernet tunnel between the stage and the mix position.
 
The Ethernet tunnel provides a 10 Mbit/sec standard Ethernet connection from an etherCON RJ-45 connector on the control surface to a similar connector on the stage router unit (DL461 for the XL8, DL371 for the PRO3, 6 and 9) for use by third parties. Applications include carrying control signals from any network-equipped computer at FoH to a radio mic receiver rack on stage and similarly, control signals from a computer to a system controller on stage. External standard Ethernet network hubs can be used to connect many different systems together via the MIDAS HyperMAC snake, which also provides redundancy in case of cable damage.
 
MIDI messages and GPIO (contact closure) signals can be sent and received by the MIDAS Console Automation System to local I/O at the console position and remotely to MIDAS I/O devices which can be 500m away.
 
The XL8, PRO3, 6 and 9 control surfaces incorporate a KVM switch (Keyboard – Video – Mouse). This switch allows one screen on the control surface plus the keyboard and trackball to be switched to one of three external computer connectors. This is a great way of reducing “clutter” at the control surface position. A control surface screen, keyboard and trackball can be used to control up to three other systems where the computers are placed out of harm’s way. These external systems, such as ProTools*, Waves* Multi-Rack, Shure* UHF-R radio mics and Dolby Lake* System Controllers, then appear on a MIDAS control surface screen and are controlled by the surface keyboard and trackball.
 
* All trademarks acknowledged.
 
This video covers use of third-party plugins on MIDAS digital audio consoles.
 
 
 
 
MIDAS PRO1 Weights and Measurements
 
Weights and Measurements
PRO2 is built around a road rugged frame:
Width 1179.6 mm x Depth 730.3 mm (46.4” x 28.8”)
Weight: 46 kg (101.4 lbs)*
 
 
 
 
MIDAS PRO2 I/O
Introduction
MIDAS digital systems provide a choice of Input/Output (I/O) options – from the fixed configuration DL251 stage box, to the highly acclaimed DL431 24 channel 5-way mic splitter. This allows users to optimise the system, depending on the application and requirements of their specific audio network.

With an audio system that is so incredibly flexible it allows the I/O units to be freely distributed into multiple locations. In other words the units can be placed exactly where they are needed – on the stage, around the auditorium, at FoH or remotely in a broadcast truck. Once the I/O units are in the desired locations the audio network can then be easily configurable to route signals from where and by when they are needed since the patching is done a scene-by-scene basis. Once the I/O units are in the desired locations, the audio network can then be easily configured to route signals, since as patching is done a scene-by-scene basis.

 
 
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