PRO2C-CC-TP
Compact Live Digital Console Control Centre with 64 Input Channels, 8 Midas Microphone Preamplifiers, 27 Mix Buses, 96 kHz Sample Rate and Touring Grade Road Case
PRO SERIES PRO2C-CC-TP
The ground breaking PRO2C features 64 simultaneous input channels with 8 award-winning MIDAS Microphone Preamplifiers and 27 time-aligned and phasecoherent mix buses. Like all PRO Series consoles, the PRO2C features managed latency and 40 bit floating point processing precision. Designed for use in high-profile live sound applications, the PRO2C sets a new standard of performance and portability in a compact digital console form factor.
AES50 audio networking technology allows the PRO2C to dynamically assign up to 156 inputs and 164 outputs at 96 kHz sample 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 PRO2C equally at home in theatres and clubs as it is in live concert touring, outside broadcast and music festivals.
Award-Winning MIDAS Microphone Preamplifier
The MIDAS microphone preamplifier is considered by leading live sound and recording engineers to be the very essence of the famous MIDAS sound. More than 40 years of design experience paired with the finest choice of premium-grade components lead to the acclaimed warmth and depth - bringing out subtle ambience, maintaining spatial positioning and more effectively capturing a precise sound image. The acclaimed sound of the award-winning MIDAS microphone preamplifier has inspired generations of live sound engineers to their best work, creating sonic panoramas that have captivated audiences worldwide.
Since pristine sound always begins with the microphone preamplifier, the first point where the signal enters the console, PRO2C features the latest generation of MIDAS microphone preamplifiers, which faithfully reproduce every sonic detail so no part of a performance will ever be missed. Transparent and pristine sound, low noise and high common-mode rejection are all hallmarks of this classic design.
Over the years many mix engineers have found this robust and overload-tolerant design takes on a whole new dimension of sound when driven hard, the crystal-clear audiophile reproduction giving way to just the right combination of harmonics, a warm and organic sound heard by millions of concert goers and recorded for posterity on countless live albums over the years.
Digital Audio Networking
SuperMAC (AES50-Compliant) digital audio networking technology from KLARK TEKNIK simultaneously provides high channel counts, ultra low and deterministic latencies, sample-synchronous and phase-aligned networked clock distribution, error detection and correction, network redundancy, and ease of deployment and use ? to meet the demanding requirements of live concert touring.
PRO2C 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.
Touring Grade Road Case
Rugged and built to last, the PRO2C Touring Pack includes a PRO2C-RC Road Case, constructed from rigid marine grade plywood and durable aluminium extrusions. Composite density foam provides internal support and superior protection in transit, night after night, city after city.
Advanced Navigation Flexibility
PRO2C incorporates new and innovative methods of channel and mix bay navigation: FLIP Navigation, FX Navigation, GEQ Navigation, and MCA Navigation. These four options allow an engineer to easily and effi ciently mix a large number of inputs on a compact control surface. PRO2C also features the ability to display and control any output bus on the input control bay area. This navigation flexibility makes working with the console as simple as requirements dictate, or as deep and complex as a user desires. PRO2C?s new output section, which features 24 direct bus selection switches that provide immediate access to up to 24 stereo pairs of output mix buses, also supports the new navigation modes.
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. If the Collapsed Flip (Hide Unassigned Channels) preference is ticked, then the console will only populate with the input channels that are assigned to the selected output, otherwise all channels will be displayed.
When the FX navigation button is engaged, selecting an output which is patched to an internal effects processor, this mode will deploy that effects processor on the display screen and map the ASSIGNABLE CONTROLS to the effects processor. If FADER FLIP is also engaged, the input channel faders will become the contributions to the effects processor. If COLLAPSED FLIP (Hide Unassigned Channels) preference is selected, the operator will only be presented with input channels that are sending to that effects processor.
When the GEQ navigation button is engaged, selecting an output which has a graphic equaliser (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 (Hide Unassigned Channels) preference is selected, the operator will only be presented with input channels which are sending to that mix.
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 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.
Integrated Effects Processors and Graphic Equalisers
The PRO2C can simultaneously provide up to 6 multi-channel digital signal processing engines for a wide choice of virtual eff ect 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 28 1?3 octave KLARK TEKNIK DN370 Graphic Equalisers (GEQs) are provided, which can be patched into any output.
PRO2C 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 many of its Competitor?s 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 benefi ts, 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 off er highly linear positional accuracy, coupled with long-term durability and even response in use.
Highest Quality Display Screen
The PRO2C features a 15" full colour daylight-viewable TFT display for use in all environments, both inside and outdoors. The display provides visual feedback for the entire system, pressing the HOME key (just to the left of the assignable controls) instantly navigates 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 PRO2C from an iPad 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.
The MIXTENDER App for iPad is available as a free download from the Apple App Store.
Auto-Ranging Universal Switch-Mode Power Supplies
PRO2C features dual-redundant power supplies, which are interchangeable with those in PRO1 and PRO2, and are auto-voltage sensing for use on a worldwide basis and provide seamless switchover in the unlikely event of a loss of one power supply.
Architecture and Engineering Specifications
The control centre shall be designed for digital audio mixing applications and be optimised for use in live performance. It shall feature 64 simultaneous input channels with 8 integrated microphone preamplifier inputs and 27 time-aligned and phase-coherent output mix buses and operate at 96 kHz sampling rate.
The control centre shall support 100 Mbit/s Ethernet frame-based digital audio networking with a total network channel count capability of 156 inputs and 164 outputs at 96 kHz sampling rate.
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.
The control centre shall provide a combination of up to 28 assignable digital audio emulations of industry standard one-third octave proportional-Q response graphic equalisers and 6 multi-channel digital signal processing effects engines. 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 8 variable control association (VCA) groups and 6 population (POP) groups.
The control centre shall have 20 motorised 100 mm faders with a rated life time of up to one million cycles and one daylight-viewable 15" full colour display screen. 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 two auto-ranging universal switch-mode power supplies with dual redundancy for use on a worldwide basis. The power supply modules shall be externally removable.
The control centre shall be 882 mm wide x 730.3 mm deep x 274.9 mm high (34.7" x 28.7" x 10.8"), with nominal weight 37 kg (81.4 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 supplied in a touring package including a road case constructed from marine grade plywood with aluminium extrusions, with internal support provided by protective composite density foam. The road case shall be 964 mm wide x 455 mm deep x 1116 mm high (38.0" x 17.9" x 43.9") including castor wheels and the gross weight of the control centre in the road case shall be 120.2 kg (264.4 lbs).
The control centre shall be the MIDAS PRO2C-CC-TP and no other alternative shall be acceptable.
Features
- Compact live performance digital console control centre with up to 64 simultaneous input channels
- 8 award-winning Midas microphone preamplifiers
- 27 time-aligned and phase-coherent mix buses
- AES50 networking allows up to 156 inputs and 164 outputs @ 96 kHz sample rate
- Touring grade road case featuring marine grade plywood, aluminium extrusions and composite density protective foam
- Advanced MCA (mix control association) channel control and navigation
- 8 VCA (variable control association) and 6 POPulation groups
- Up to 28 assignable 1/3 octave Klark Teknik DN370 graphic equalisers
- Up to 6 multi-channel digital signal processing effects engines
- 20 Midas PRO motorised 100 mm faders
- Daylight viewable 15? full colour TFT display screen
- Fully interpolated touch sensitive controls
- Optional wireless remote control with Midas MIXTENDER App for iPad*
- Dual redundant auto-ranging universal switch-mode power supplies
- 10-Year Warranty Program*
- Designed and engineered in the U.K.
DL251 I/O Unit
- 48 remote control mic/line audio inputs
- 16 audio line outputs fixed configuration
- Switchable between 96kHz and 48kHz sample rates
- Midi out and thru
- Three AES50 ports
- Ethernet control port (using Midas protocols)
- Dual redundant PSUs
- Digital snake and distribution network component
- 5U chassis height
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Used MIDAS Audio
Midas has been designing and manufacturing audio consoles since the early 1970s. Later on it became part of the Telex group. When, in January 2006, Telex Communications was acquired by the Bosch group, Midas consoles became part of the business unit "Bosch Communications Systems". Midas parted company with Bosch in February 2010 and are now part of The Music Group.
A 19-inch rack holding several professional audio devices including a Midas XL88 8×8 matrix mixer at the bottom
A Midas Heritage 3000 mixing console on the right at the Front of House position at an outdoor concert.
Midas consoles are currently being used around the world by audio engineers largely in the live sound realm. Applications for these boards include Front of House (FOH) and monitor console positions.
Common and historical consoles include the Heritage 1000, 2000, 3000 and 4000, the venerable XL4, XL3 and XL200 & 250 large frame professional touring consoles and a variety of less expensive versions aimed at the club and regional sound market.
The first digital console from Midas, the XL8, was launched at the Frankfurt Music Messe in 2006, becoming the flagship Midas console. Notable features include three pre-amps per channel to enable Front of House, Monitor and broadcast control surfaces to be fed from the same input rack, dual redundant master control processors, and integration with the Klark Teknik Helix EQ system via the Rapide remote.
In September 2008 at the annual PLASA tradeshow, Midas introduced the PRO6 Live Audio System, the second networked digital audio system from Midas. Employing technologies developed from the XL8, the PRO6 offers similar audio performance in a compact package. In 2010, the PRO3 and PRO9 digital consoles were added to the Midas product line, along with the VeniceF digital-analog hybrid ("Digi-Log") console, which replaced the Venice analog console.
At the 2011 PLASA show, Midas unveiled the PRO2 and PRO2C consoles, which bring Midas digital features from the larger PRO and XL8 consoles into a more compact package and a lower price point. Midas launched the PRO1 digital console at InfoComm 2012 in Las Vegas. The PRO1 features an even smaller physical footprint and lower price point than the PRO2/PRO2C.
In January 2014 at Winter NAMM in Anaheim, California, MIDAS introduced their newest console, the M32 ($4,999 MSRP in USA), based largely on hugely-successful Behringer X32 mixer, sharing most of OS but with different microphone preamps, same as in MIDAS Pro series mixers. (X32 uses slightly different preamps, also designed by MIDAS, but using a sample rate of 48 kHz, using Cirrus Logic A/D converters.
MIDAS Pro preamps are 96 kHz and use MIDAS' own 8-channel A/D converter, branded MIDAS-8000, which reportedly has better performance numbers than Cirrus Logic chips used by most other console makers).
At that same time, Midas also began retiring much of its analog console product line including the Heritage, Legend, and Siena.
The Verona analog console and VeniceF and VeniceU analog-digital hybrid versions of the original Venice console are still an active part of Midas' product line. Midas also markets the digital audio distribution components that are commonly used with their digital consoles as stand-alone digital snakes, or larger multi-site audio distribution networks.
Linux is used at the core of all Midas digital consoles. This is mentioned prominently in their marketing materials, as well as in their preference for Linux development and kernel programming experience in job postings for development positions. At the core of all MIDAS Pro desks is standard PC motherboard with 4Gb flash card (as OS and data storage).
In December 2009, Midas and Klark Teknik were acquired by Music Group, a holding company chaired by Uli Behringer, which also owns other audio companies such as Turbosound, Behringer and Bugera as well as Electronic Manufacturing Services company Eurotec.
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Efficiency Rating: Level of sound output measured at a prescribed distance with a standard input power. Efficiency rating standard is 1 watt (2.83V at 8 ohms) at 1 meter over a specified frequency range and is measured in decibels.
Equalization: Loosely, any type of relative frequency adjustment. Specifically, the process of changing the frequency balance of an electrical signal to alter the acoustical output.
Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both.
Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.
Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it’s in phase with the input and negative when it's out of phase.
FM: Frequency Modulated.
Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details.
Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level.
Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.
Gain: Increase in level or amplitude.
Gooseneck: This refers to a microphone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.
Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies lowering sliders cuts (attenuates) the affected frequencies.
HDCP: High-Bandwidth Digital Content Protection. Created by Intel, HDCP is used with HDTV signals over DVI and HDMI connections and on D-Theater D-VHS recordings to prevent unauthorized duplication of copyright material.
HDR: Hard-Drive Recorder. Device that uses a computer hard drive to store compressed digital audio and video signals.
High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.
Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.
Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.
Integrated Amplifier: A combination preamp and amplifier.
Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.
KHz: Kilohertz or one thousand Hz.
Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.
Line Array: A group of speakers that have been arrayed or ” built up” in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.
Line-Level (Low-Level): A level of electrical signals too low to make the average speaker move sufficiently. Amplifiers receive line-level signals and amplify them to speaker level.
lockout: The final words of a segment used to signify the production’s conclusion.
Low Pass: A filter that lets low frequencies go through but doesn’t let high frequencies go through. Same as high cut.
MHz: Megahertz, or 1 million Hz.
Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies.
Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range.
Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.
MLP: Meridian Lossless Packing. Encoding format that is able to completely reconstruct the original signal at the receiving end. No information is lost or discarded, regardless of how trivial it might be. Used to encode six channels of high-resolution audio on DVD-A.
Mono: Monophonic sound. One channel.
MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers.
Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.
Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.
Nonlinear Editing: Digital audio systems that allow for clips to be extracted without affecting the master recording.
Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
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Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.
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