Midas Pro 1

Re: Midas Pro 1

I saw it yesterday but didn't listen. It's a little bitty guy, I was told it was US$2800. They were pretty busy in the booth and to use Buford's words, "I don't kick as high as I used to". It looked Midas enough, felt solid, was easy to get around and didn't feel too Behringer like but it's still not quite as robust as it's big brothers.

I was more intrigued by the new M series Yamaha and the new DTX (?) scaleable matrix system. Yamaha has a couple of in depth 4 hour demos on the whole line Monday at Circus Circus.
 
Re: Midas Pro 1

Stuart Pendleton said:
Are you sure you aren't dyslexic? Maybe that was $8200? $2800 might even put it in my future....
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Steady big fella. I'm trying to maintain the new Dave. ;) They were busy and I couldn't get a dog and pony but I saw someone in the booth from the old country that I hadn't seen in almost 10 years. He saw the demo and said it was US$2800. Seems low to me to. I'd go back and check it out again but this morning have some race car stuff to do. It's all about priorities and all.
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Re: Midas Pro 1

Dave-

Great to see you here. I think someone got confused as that sounds more like the "step cousin(?)" Behhinger X32 pricing which I understand has gone up from that with a now included extra recording card (?) I think. As I understand it the Pro 1 is $9,999 MAP. I believe that is the "Tour Pack" with case.

Go fast and be safe.
 
Re: Midas Pro 1

Raul Suarez said:
Dave-

Great to see you here. I think someone got confused as that sounds more like the "step cousin(?)" Behhinger X32 pricing which I understand has gone up from that with a now included extra recording card (?) I think. As I understand it the Pro 1 is $9,999 MAP. I believe that is the "Tour Pack" with case.

Go fast and be safe.
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Raul has it right. that 2889 is for the X32 from Behringer. "Under $10K" was what they were saying about the Pro1 WITh the road case. If you are friendly with a dealer you may be able to cut a little better deal. And according to the folks who know, the first shipment is "on the water."
 
Re: Midas Pro 1

Thanks for clearing that up gang. $10k does make more sense. I looked for Jay in the booth but it was busy as hell. One of the most crowded in the audio pavilion. The punters (like me) were 3-4 deep around each of the small desks. No one around the Pro 6 or XL8. It was good to see many familiar faces. Bill, when you say "on the water would that be the Pacific or Atlantic? ;)
 
Re: Midas Pro 1

I actually stopped by the Midas shop in Vegas today... It's a cute little guy. Plenty of functionality, and just a little bigger than an LS9-16. It's going to kill in the A/V market. Perfect for small gigs needing high quality sound. It feels like a Midas, and sounds exactly like it's bigger brothers.



Evan
 
Re: Midas Pro 1

Steve Anderson said:
+1

I guess it might be doable with all the point to point network routing included... And the official answer is ???
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Yes! It is 100% doable. Just remember its only a 24x24 box on the Pro 1, so if you need more ins and outs, you'll have to get another box. Also, you'll be sharing stage box gains at both ends, so once somebody sets the stage box level, make sure you only mix on the digital gains, otherwise you'll really screw with the other person!



Evan
 
Re: Midas Pro 1

Evan Kirkendall said:
Yes! It is 100% doable. Just remember its only a 24x24 box on the Pro 1, so if you need more ins and outs, you'll have to get another box. Also, you'll be sharing stage box gains at both ends, so once somebody sets the stage box level, make sure you only mix on the digital gains, otherwise you'll really screw with the other person!

Evan
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isn't this ALWAYS - besides the MIDAS DL431 (i hope i got the right number :lol:) the problem with digital gains?
 
Re: Midas Pro 1

Steve Payne said:
It's not a problem "with digital gains". It's math. You've got one preamp and two control surfaces. Any scheme to deal with that reality is going to make someone less than thrilled.
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It doesn't have to be that way. Actually, we shouldn't have to set pre-amp levels at all--an algorithm could do that too. But in a shared pre-amp scenario it should be almost trivial to use digital trim to compensate for the gain change on the other console. The other engineer shouldn't even notice the change unless they're watching the digital trim levels change. It's just software.

Jeff
 
Re: Midas Pro 1

Hi Jeff,

You are partly right. But I think we look at mic amps in a slightly different way to most other manufacturers and this has affected how we approach digital console gain and the way it is used.

Our mic amps have always been specifically designed to respond very musically and be very controlled when overdriven. In fact many engineers have grown use the ability to overdrive our mic amps as part of the sound that they create. It is another tool in their tool box. We made a concerted effort to make sure that the mic amps of our digital consoles could be used in the same creative way. If an engineer wants to use the available headroom to create a more 'open' and 'airy' sound, or if they wish to overdrive the mic amp and use the coloration that is developed they should be able to do so. Whether its a mic amp connected to an analogue or digital console. Of course when using a digital console we have to make sure that its not possible to create digital distortion, as this would not be musical or pleasing.

Once the coloration is created (or not) in the analogue domain you can not use digital gain/trim to compensate for this, so gain tracking would be little help in this situation. So it became obvious to us that we needed to offer FOH and Monitor (and recording/broadcast) engineers a way to run their mic inputs the way they chose to and offer as much flexibility as possible. This was where the idea for the DL431 mic splitter system came from. Offering three independent mic amps per input gives engineers the flexibility to run their gain structure however they wish. If you want the more 'airy' sound thats fine, if you want the more coloured, over driven sound that is also fine.

When you are using the DL series i/o boxes that have a single mic amp obviously some compromise is inevitable. The engineers need to have a basic agreement and understanding of what they want the mic gain to be. Both from a basic gain structure and from a creative point of view. Once this is agreed upon and the mic gain level set, they can both switch to their respective digital trims. This offers them a -40dB to +20dB swing, with a very fine resolution of 0.01dB. This offers much more control than the stepped 2.5dB or 5dB of the analogue mic amp and keeps basic gain structure through the A/D converters the same. Meaning that gain tracking is not required when using just the digital trim. If a channel is overloading too much (for example a DI Box pad has become selected/deselected), then this gain change in the analogue domain would effect both consoles anyway. So which ever console has control of the analogue mic amp within the i/o box can fix it for both consoles.

I'm not saying that our solution is perfect, or that it solves every possible scenario of a multi console set up. But we hope that it offers enough flexibility to solve most peoples problems and still offer some creative control over how they use their mic amps and the available gain structure.

I hope this helps in the discussion,

All the best,

Jason
 
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