Midas PRO9-CC-IP Live Digital 88 Input Channels
Pro Series Midas PRO9-CC-IP
Live Digital Console Control Centre with 88 Input Channels, 35 Mix Buses and 96 kHz Sample Rate
The MIDAS PRO Series has become established as the industry standard on live concert tours and the road-proven PRO9 featuring 88 simultaneous input channels and 35 time-aligned and phase-coherent mix buses, shares the familiarity of a common user interface and workflow with PRO3 and PRO6. Like all PRO Series consoles, the PRO9 features managed latency and 40 bit floating point processing precision. PRO9 sets the standard of performance in high-profile live sound applications and is a truly impressive digital control surface for the engineer whose very livelihood depends on both unparalleled functionality and reliability.
HyperMAC and AES50 audio networking technologies allow the PRO9 to dynamically assign up to 288 inputs and 294 outputs at 96 kHz sampling rate to any of its input channels and bus outputs on a scene-by-scene basis. This high level of connectivity, coupled with the large channel and bus counts, makes the PRO9 equally at home in theatres and symphony halls as it is in live concert touring, outside broadcast and music festivals.
Digital Audio Networking
SuperMAC (AES50-Compliant) and HyperMAC digital audio networking technologies from KLARK TEKNIK simultaneously provide high channel counts, ultra low and deterministic latencies, sample-synchronous and phase-aligned networked clock distribution, error detection, network redundancy, and ease of deployment and use – to meet the demanding requirements of live concert touring.
The PRO9 HyperMAC router provides a dual redundant snake connection to the DL371PRO9 Audio System Engine over optical fibre and copper with a bandwidth of 192 bidirectional channels of 96 kHz 24 bit digital audio, up to a distance of 500 m with optical fibre or 100 m with CAT5/5e cable.
PRO9 is compatible with all MIDAS PRO Series digital I/O units, as well as with any other 96 kHz-enabled AES50-equipped devices. Multiple PRO Series consoles can be connected together to create either larger mixing systems, or multiple discrete mixing consoles can share a common resource of networked and distributed I/O interfaces.
Advanced Navigation Flexibility
At the heart of MIDAS console navigation are the VCA and POPulation groups, which mirror the natural work flow used by mix engineers and encourages the development of a mental picture, or “Mind Map”, of the whole system. Only the required control elements and associated feedback are presented, allowing users to adopt structured task-based workflows, rather than being presented with an overwhelming ‘sea of knobs’.
Integrated Effects Processors and Graphic Equalisers
The PRO9 can simultaneously process up to 8 internal multi-channel effects and DL371PRO9’s 40 bit floating-point audio processing hosts a wide choice of virtual effects devices, which range from dual-mono delay units, stereo modulation and numerous diverse reverberation simulations, multi-band compression, dynamic EQ and multi-channel dual-function dynamics processing. Up to 36 1/3 octave KLARK TEKNIK DN370 Graphic Equalisers (GEQs) are provided, which can be patched into any output.
PRO9 provides comprehensive automatic latency management of all internal routing and processing latency – and also includes compensation for external analogue inserts. All audio samples are synchronised before summing, resulting in absolute phase coherence at the outputs, without the comb filtering effects of competing products that often result in specific frequencies being cancelled out completely.
All effects processors and GEQs are custom-designed to function within this automatic latency compensation system. This ensures a phase-coherent, sample-accurate mix regardless of whether the devices are used as channel inserts or on auxiliary buses.
Midas PRO Fader
Not satisfied with the existing motorised fader choices in the marketplace, MIDAS created the PRO FADER, rated for up to a million cycles – three times that of other leading manufacturers – and providing high linearity, robustness, and smooth feel during operation. This decision yielded many other benefits, including total quality control over the manufacturing process and lower costs that could be passed on to customers.
As a digital console manufacturer, MIDAS has a perspective on the actual application of motor faders that a component manufacturer would not have. The multi-disciplinary development project combined mechanical design, electronic hardware and software optimisation with a rigorous testing programme and an investment in material science to produce the best possible performance in actual operation in MIDAS PRO Series consoles. Semi-precious metals are used for the wiper fingers for their hard-wearing properties, and precision resistive tracks were created that offered highly linear positional accuracy, coupled with long-term durability and even response in use.
Highest Quality Display Screens
The PRO9 Control Centre features dual 15″ full colour daylight-viewable TFT displays for use in all environments, both inside and outdoors. The displays provide visual feedback for the entire system, the on-screen menus instantly navigate to the console overview page, which keeps all vital information (all metering, all fader positions, mutes and solos) in view at all times.
Digital Precision, Analogue Response
The oversampled digital signal processing algorithms, combined with the fully interpolated and touch sensitive user controls, result in the smooth continuous response and immediacy of working on an analogue console. Parameter adjustment becomes fast and easy, and the continuous phase shift of a swept frequency control is heard without the quantisation artefacts exhibited by competing digital consoles.
Wireless Remote Control
Delivering unprecedented control and mobility, the MIXTENDER App for iPad* combines control of key functions with the highly responsive system metering, allowing users to take control of PRO9 using an iPad from anywhere in a venue. Support for multiple simultaneous iPads allows FOH and monitor engineers to work collaboratively, enhancing productivity and communication as well as saving valuable time during set-up.
Redundancy – For Peace of Mind
The PRO9 has dual-redundant control computers, and three removable power supplies – only two of which are required for operation. The power supplies, which are interchangeable with those in the Engine, are auto-voltage sensing for use on a worldwide basis and provide seamless switchover in the unlikely event of a loss of one of the three power supplies.
Combined with the dual-redundant HyperMAC snake and the redundant AES50 networking, no other console goes further in providing peace of mind. This means that during a show the user can focus on what is most important – treating the audience to a flawless sonic experience.
The control centre shall be designed for digital audio mixing applications and be optimised for use in live performance. It shall feature 88 simultaneous input channels and 35 time-aligned and phase-coherent output mix buses and operate at 96 kHz sampling rate.
The control centre shall include Gigabit and 100 Mbit/s Ethernet frame-based digital audio networking with a total network channel count capability of 288 inputs and 294 outputs at 96 kHz sampling rate. A Gigabit Ethernet frame-based digital audio network router shall be included with 192 bidirectional channels operating over optical fibre up to 500 m and CAT5/5E cable up to 100 m, and provide a dual redundant digital snake connection to the associated audio system digital signal processing engine.
The Gigabit digital audio network shall operate on a time-division multiplex basis, and shall provide accurate phase-aligned low-jitter clock distribution using embedded timing markers in the data streams to allow transmission over either Cat5/5E copper cable up to a distance of 100 m as specified by the IEEE 802.3 Ethernet standard, or up to distances of 500 m using 50/125 μm multimode optical fibre. It shall provide two levels of cyclic redundancy check (CRC) error detection – a checksum sent with the associated Ethernet frame and an additional checksum for audio data. A dedicated 200 Mbit/s auxiliary data channel shall be provided for control data.
The Gigabit digital audio network shall have an individual link latency of 62.5 μs at 96 kHz sampling rate and support dual redundant operation.
The 100 Megabit Ethernet frame-based digital audio network shall off er N+1 cable redundancy and be compliant with the Audio Engineering Society AES50-2011 standard.
In conjunction with the associated audio system engine digital signal processor, the control centre shall provide up to 36 assignable digital audio emulations of industry standard one-third octave proportional-Q response graphic equalisers and up to 8 simultaneous multi-channel digital audio effects. There shall be automatic latency management of all internal routing, external analogue insert and digital signal processing delays. This latency management system shall synchronise audio samples when summing to mix buses to ensure phase alignment of the summed signals.
The control centre shall provide a user navigation system including 10 variable control association (VCA) groups and 6 population (POP) groups.
The control centre shall have 29 motorised 100 mm faders with a rated life time of up to one million cycles and two daylight-viewable 15″ full colour display screens. It shall include software interpolation of physical control elements and associated display feedback to eliminate digital quantisation artefacts.
The control centre shall have the provision for the optional wireless control using an Apple iPad, with a bespoke software application available as a free download from the Apple App Store.
The control centre shall include dual-redundant control computers, and three auto-ranging universal switch-mode power supplies with N+1 redundancy for use on a worldwide basis. The power supply modules shall be externally removable and interchangeable with those in the associated audio system engine digital signal processor.
The control centre shall be 1365 mm wide x 924 mm deep x 431 mm high (53.7″ x 36.4″ x 17.0″), with nominal weight 90.0 kg (198.4 lbs). The control centre shall be installed on a flat horizontal surface capable of safely supporting its weight. Input, output, and power connections shall be made at the rear panel of the control centre. Installers shall allow adequate space at the rear for connection and disconnection of input, output, and power connections. The power requirements shall be 100 to 240 VAC, 50 to 60 Hz.
The control centre shall be the MIDAS PRO9-CC-IP and no other alternative shall be acceptable.
– Live performance digital console control centre with up to 88 simultaneous input channels
– 35 time-aligned and phase-coherent mix buses
– HyperMAC and AES50 networking allows up to 288 inputs and 294 outputs @ 96 kHz Sample Rate
– HyperMAC router with 192 bidirectional channels over copper and optical fibre
– Provides dual redundant snake connection to DL371PRO9 Audio System Engine
– Snake connections up to 500 m with optical fibre or 100 m with CAT5/5e cable
– 10 VCA (variable control association) and 6 POPulation groups
– Up to 36 assignable 1/3 octave KLARK TEKNIK DN370 graphic equalisers
– Up to 8 multi-channel digital signal processing effects engines
– 29 MIDAS PRO motorised 100 mm faders
– 2 daylight viewable 15” full colour TFT display screens
– Fully interpolated touch sensitive controls
– Optional wireless remote control with MIDAS MIXTENDER App for iPad*
– Three bay auto-ranging universal switch-mode power supply with N+1 redundancy
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