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Midas Pro 1
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<blockquote data-quote="Jason Kelly" data-source="post: 56467" data-attributes="member: 278"><p>Re: Midas Pro 1</p><p></p><p>Hi Jeff,</p><p></p><p>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.</p><p></p><p>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.</p><p></p><p>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.</p><p></p><p>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.</p><p></p><p>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.</p><p></p><p>I hope this helps in the discussion,</p><p></p><p>All the best,</p><p></p><p>Jason</p></blockquote><p></p>
[QUOTE="Jason Kelly, post: 56467, member: 278"] 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 [/QUOTE]
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