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Midas Pro 6 Console Training
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<blockquote data-quote="Bennett Prescott" data-source="post: 16961" data-attributes="member: 4"><p>Networking Back End</p><p></p><p>This was their two day technician training, as opposed to the one day operator training. Apparently somewhat of a new course, normally the schedule is one day operator training followed by two days of technician training. The difference between the two courses is obviously depth, with the two day course designed more for system engineers who need to be able to deploy and troubleshoot these desks. Since everyone was there for both days Jason went right for the longer course material.</p><p> </p><p>What the Midas digital desks have to offer that was not obvious to me before is an extremely advanced digital audio network ''behind the scenes''. While your average soundco application may not involve more than a Pro 3 surface with a fixed 48x16 stage box, the system scales up to hundreds of inputs and outputs distributable on the fly to any combination of <a href="http://www.midasconsoles.com/pro3_intro.php" target="_blank">Pro</a> <a href="http://www.midasconsoles.com/pro6_intro.php" target="_blank">series</a> <a href="http://www.midasconsoles.com/pro9_intro.php" target="_blank">desks</a>, <a href="http://www.midasconsoles.com/xl8_intro.php" target="_blank">XL8</a>, or hard disc recorders like the <a href="http://www.klarkteknik.com/dn9696.php" target="_blank">KT DN9696</a>. That same network can also be <a href="http://www.klarkteknik.com/dn9650.php" target="_blank">bridged</a> into and out of other formats like Dante. Jason offered a very interesting example from the Euro Songvision Contest with 2 XL8s at FOH and 3 Pro 6 surfaces backstage with distributed I/O and outputs to the record/broadcast truck(s), all running on Midas's network.</p><p> </p><p>The network itself is standards based and runs on what we all recognize as ethernet cabling, allowing any component to be located up to 300' from any other component (or more with a fiber ''snake'' to FOH) and providing extremely powerful routing from any I to any (or multiple) Os. Point to point latency is 70 <em>microseconds</em>, so they are using a very low latency packet design with error correction built in. Control data runs on the same cabling but different pins, through standard TCP/IP. At the lowest latency setting on the desk (longer latencies are set for more latency matching in and out of analog inserts, plugins, etc) I think the analog in to analog out latency of a normal snake system was between 1 and 2 milliseconds, which is about as low as any system available.</p><p> </p><p>I was also very impressed with the thought put in to fault tolerance. Every system is has a hot-swap spare, whether it's the snakes, DSP cards, or control engines in the console itself. There is no single point of failure anywhere in a properly designed Midas digital system. All this error correction, fault monitoring, and failover is very transparent to the end user, but provides a lot of information and options to a system engineer trying to keep a complex system up and running.</p></blockquote><p></p>
[QUOTE="Bennett Prescott, post: 16961, member: 4"] Networking Back End This was their two day technician training, as opposed to the one day operator training. Apparently somewhat of a new course, normally the schedule is one day operator training followed by two days of technician training. The difference between the two courses is obviously depth, with the two day course designed more for system engineers who need to be able to deploy and troubleshoot these desks. Since everyone was there for both days Jason went right for the longer course material. What the Midas digital desks have to offer that was not obvious to me before is an extremely advanced digital audio network ''behind the scenes''. While your average soundco application may not involve more than a Pro 3 surface with a fixed 48x16 stage box, the system scales up to hundreds of inputs and outputs distributable on the fly to any combination of [URL="http://www.midasconsoles.com/pro3_intro.php"]Pro[/URL] [URL="http://www.midasconsoles.com/pro6_intro.php"]series[/URL] [URL="http://www.midasconsoles.com/pro9_intro.php"]desks[/URL], [URL="http://www.midasconsoles.com/xl8_intro.php"]XL8[/URL], or hard disc recorders like the [URL="http://www.klarkteknik.com/dn9696.php"]KT DN9696[/URL]. That same network can also be [URL="http://www.klarkteknik.com/dn9650.php"]bridged[/URL] into and out of other formats like Dante. Jason offered a very interesting example from the Euro Songvision Contest with 2 XL8s at FOH and 3 Pro 6 surfaces backstage with distributed I/O and outputs to the record/broadcast truck(s), all running on Midas's network. The network itself is standards based and runs on what we all recognize as ethernet cabling, allowing any component to be located up to 300' from any other component (or more with a fiber ''snake'' to FOH) and providing extremely powerful routing from any I to any (or multiple) Os. Point to point latency is 70 [I]microseconds[/I], so they are using a very low latency packet design with error correction built in. Control data runs on the same cabling but different pins, through standard TCP/IP. At the lowest latency setting on the desk (longer latencies are set for more latency matching in and out of analog inserts, plugins, etc) I think the analog in to analog out latency of a normal snake system was between 1 and 2 milliseconds, which is about as low as any system available. I was also very impressed with the thought put in to fault tolerance. Every system is has a hot-swap spare, whether it's the snakes, DSP cards, or control engines in the console itself. There is no single point of failure anywhere in a properly designed Midas digital system. All this error correction, fault monitoring, and failover is very transparent to the end user, but provides a lot of information and options to a system engineer trying to keep a complex system up and running. [/QUOTE]
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