If you’re a sound engineer or a professional in the music industry, then the Midas Heritage-D HD96 mixing console is a piece of equipment that you’ll want to have in your arsenal. This console has been designed to offer top-of-the-line performance, superior sound quality, and advanced mixing capabilities that make it ideal for use in large-scale live events, recording studios, and broadcast environments.
About the Midas Heritage-D HD96
One of the key features of the Midas Heritage-D HD96 mixing console is its advanced digital signal processing technology. This technology is designed to offer high-resolution audio quality and a wide dynamic range, ensuring that every sound is reproduced with clarity and accuracy. With 96 input channels and 24 mix buses, this console can handle even the most complex sound mixing tasks, making it a versatile and powerful tool for sound engineers.
In addition to its advanced audio processing capabilities, the Midas Heritage-D HD96 also features an intuitive and user-friendly interface. The console’s control surface is designed to be highly customizable, allowing users to create their own personal workflows and access frequently used features quickly and easily. The console’s onboard automation system also makes it easy to create and recall complex mixing settings, which is essential in live sound environments where changes need to be made quickly and efficiently.
Another key advantage of the Midas Heritage-D HD96 mixing console is its robust construction. This console is built to withstand the rigors of daily use in professional settings, with a durable steel chassis and high-quality components that ensure reliability and long-term performance. The console’s modular design also makes it easy to upgrade or repair components as needed, minimizing downtime and ensuring that the console is always ready for use when it’s needed.
Overall, the Midas Heritage-D HD96 mixing console is a powerful and versatile tool for sound engineers and professionals in the music industry. With its advanced digital signal processing technology, customizable interface, and robust construction, this console offers superior performance and reliability in even the most demanding live sound, recording, and broadcast environments. Whether you’re mixing a live concert, recording a new album, or producing a television broadcast, the Midas Heritage-D HD96 is a piece of equipment that you can count on to deliver the highest-quality sound and performance.
Midas Heritage D Specs
Specification
Processing
| Input processing channels | 144 flexi channels |
| Output processing channels | 96 flexi aux outputs, 24 matrices, stereo bus, mono bus |
| Point-to-point routing matrix | 622 x 652 |
| Signal processing | 64-bit floating point |
| D/A converter | 24-bit, 96 kHz and 128 times oversampling |
| A/D converter | 24-bit, 96 kHz and 128 times oversampling |
| Sampling frequency | 96 kHz |
| I/O latency (surface input to output) | 1.34 ms |
| Input audio processing | Dual-slope high and low-pass filters True phase filter control 4-band parametric EQ with 3 shelf modes 4-mode creative input compressors Input gates or ducker Insert point on/off with processing order change Direct output with adjustable level and processing pick of point Delay-compensated aux return mode on inputs 5 x tap-off points per send |
| Output audio processing | Output 4-band parametric EQ with shelving/HP/LP options 4-mode creative output dynamics Insert point on/off with processing order change Direct input with adjustable level and processing tap-off point |
| Mixing control assistance | 12 x talk groups 12 x mute groups 24 x surface POPulation groups 24 x VCA associated population groups Scene snapshot automation |
Connectors
| Midas microphone preamplifier | 8 x XLR balanced |
| Balanced outputs | 8 x XLR balanced |
| Talkback connector | 1 x XLR balanced |
| Talk connector | 1 x XLR balanced |
| Headphone connector | 2 x 1⁄4″ TRS (stereo) |
| Digital AES3 input / output (XLR) | 2 / 2 |
| AES50 ports (Klark Teknik SuperMAC, 100 Mbit/s) | 4 |
| Snake (copper) | 2 x HyperMac (192 channels of bi-directional digital audio) on Ethercon XLR |
| Snake (fibre) | 2 x HyperMac (192 channels of bi-directional digital audio) on Opticon XLR |
| CM1 expansion slots | 2 x slots (CM1 module for AES50, DANTE, MADI and USB) |
| Ultranet | 2 x Ultranet ports (up to 16 digital outputs per port) |
| Word clock IN | BNC, accepts TTL level, 96 kHz square wave, impedance 75 Ohms |
| Word clock OUT | BNC, provides a TTL level, 96 kHz square wave |
| AES3 sync IN | 1 x 3-pin XLR |
| AES3 sync OUT | 1 x 3-pin XLR |
| External (Ethernet) connector | Ethercon XLR |
| Monitor output | 2 x HDMI (1920 x 1080p 59.94Hz/60Hz 16:9 & 720 x 480p 59.94Hz/60Hz 16:9 supported) |
| USB 3.0 type A hub | 4 x 5 V ⎓ 900 mA |
| USB 3.0 type A (fader port expansion) | 4 x 5 V ⎓ 900 mA |
| USB 2.0 type A (front surface data) | 1 x 5 V ⎓ 500 mA |
| Diagnostics Port | Serial port |
| MIDI | In, Out and Thru 5-pin MIDI DIN sockets |
| Lamp | 2 x 12 V DC 5 W 4-pin |
| IEC mains socket with power switch | 2 |
Input / Output Characteristics
| Surface input impedance | 10 kΩ |
| Non-clip maximum input level | +24 dBu |
| Input gain | Analogue stepped gain -2.5 dB to 45 dB plus -40 dB to +20 dB continuous digital trim |
| Phantom power (switchable per input) | +48 V |
| Talk mic impedance | 5 kΩ |
| Talk mic gain | +15 dB to +60 dB |
| Talk mic max level | +6 dB |
| Talkback impendance | 20 kΩ |
| Talkback gain | ∞0 to + 10 dB |
| Talkback max level | +21 dBu |
| Surface output impedance | 50 Ω |
| Surface output gain | 0 dB |
| Surface output max level | +21 dBu |
| Dynamic range | 106 dB, 22 Hz to 22 kHz, unweighted |
| Maximum voltage gain | 100 dB inputs to subgroups and masters , 106 dB inputs to aux and matrix |
| Crosstalk at 1 kHz | -100 dB physically adjacent input channels |
| Crosstalk at 10 kHz | -90 dB physically adjacent input channels |
| Fader / pan cut off at 1 kHz | -100 dB |
| Fader / pan cut off at 10 kHz | -100 dB |
| Headphones output impedance | 10 Ω |
| Headphones maximum output level | +21 dBu |
Displays
| Display screen | 21″ LCD high brightness 1920 x 1080 px, captive touchscreen, up to 10 simultaneous touches |
| LCD info displays | 41 x full colour LCD info displays, 24 mm x 24 mm (size), 240 x 240 px |
| Input meters (quantity 30) | 12 segment -35 dBu to +20 dBu |
| Output meters (quantity 7) | 20 segment -36 dBu to +21 dBu |
| Channel comp meters (quantity 28) | 5 segment -24 dBu to -1 dBu |
| Channel gate meters (quantity 28) | 5 segment -34 dBu to -5 dBu |
| Comp meter (quantity 1) | 12 segment -23 dBu to -1 dBu |
| Gate meter (quantity 1) | 12 segment -34 dBu to -1 dBu |
Controls
| 100 mm motorized faders | 8 + 8 + 8 + 4 |
| Touch-sensitive rotary controls | 66 |
| Custom controls | |
| Fully assignable rotary controls | 28 + 8 |
| Fully assignable backlit buttons | 28 + 8 + 12 |
| Headphone controls | A and B, min to max |
| Talk | Talk gain min to max |
Features:
- Tour Package (Midas fitted flight case included)
- Live performance digital control centre with up to 144 simultaneous input channels @ 96 kHz sample rate
- 120 time-aligned and phase-coherent mix buses
- 21″ full colour TFT display screen with capacitive touch sensing
- Advanced and multi-gesture touchscreen user interface
- Award-winning Midas microphone preamplifiers
- Over 600 inputs and outputs into the surface
- Dual network bridge format converter with up to 128 bidirectional channels and asynchronous sample rate conversion
- Touring grade road case featuring marine grade plywood, aluminium extrusions and composite density protective foam
- 24 VCA (variable control association) and 24 POPulation groups
- Up to 24 multi-channel digital signal processing effects engines with upto 96 effects
- Integrated Wireless transceiver module
- Dual ULTRANET Ports providing 32 additional digital outputs
- 28 Midas PRO motorised 100 mm faders
- Fully interpolated touch sensitive controls
- Dual redundant auto-ranging universal switch-mode power supplies
A true plethora of Effects with Music Tribe’s unparalleled sister companies including TC Electronic we have the world’s best effects emulations. Up to 96 effects can be used to craft a beautiful sounding mix including:
- TC 6000 (VSS4)
- TC 3000 (VSS3)
- TC Electronic 2290
- HD2A
- HD670
- KT1176
- R-Comp
- KT Bus compressor
- Mteq Program EQ-HD
- M6 compressor
- HD Stressor compressor
- Ultra-Dualistic Voice Doubler
- Rack-Amp (guitar amp and cab emulation)
- Glow (harmonic mix glue)
- Rotor Motor (Leslie cabinet emulation)
- Enlightenment Bass
- XL4 EQ
- M Harmonics
- Uncl HD Distortion
- Prime Input Expander
- Wave Designer
In this video from Chase McNight we show you everything you need to know to get up and running (and more) on the Midas Heritage HD96. Great for beginners, intermediate and advanced users.
Video Text:
0:00:00.2 –>
hey everybody so in this video i’m going to show you how to uh get up and running with just uh this is just going to be an hd with a dl251 and we’re going to create a new show how to save and just overall kind of just get up and going so i’m going to start here with um selecting a user profile so we can change users so from here can log into an mcloud account so if the console’s connected online you can actually load from any person’s amacloud account and that information information will get extracted directly to the desk so we can choose to do that which i’m going to another option is just to create a new user so if we do create new user the section on the left here is going to be something that is just stored locally to the desk so you know you could just do like shop test
0:01:00.4 –>
create a pin when you just need to do some testing or something and that doesn’t have an associated m cloud account or the desk is connected to the internet again you could create your nickname create a pin and if you take this box fill in this information it’ll actually create the mcloud account for you but for now we’re just going to go back i’m going to click on myself and hit done okay so it takes us to home which is our multi-view and right now we have no shows loaded so if we look in the top right corner this is where we’ll see our show information so i can go to show manager from here or i can tap menu and go to show manager so the first thing we want to do is create a show and be able to store a scene so on the left hand side is all the shows that i have in my mcloud account and
0:02:01.2 –>
this is going to keep the top 25 and anything that i don’t want in here and i can actually do that like um you know how to store i can archive that so if i just press and hold i can remove that so it takes it from the desk but it’s still stored in my mcloud account so what we’re going to do is we’re going to select new and for this just going to name it um saving keep it simple so we have that i’m going to hit create so we’ll see that we created an account on the left hand side here so it went green because it was saved to the desk it’s blue with the the refreshing symbol in there that means that it is sending that information to the cloud and then once it goes green again it means that we’re now working on the same copy so it is saved
0:03:01.4 –>
directly to the cloud so if i tap on that and hit open we’ll now be presented with our open show pop-up very important um questions being asked for specifically load options so it’s where do we want the information uh to be taken from so if we just want it completely from the show file itself which is what we want to do in this case here we can have all of our safes set to show automate patching we can have selected and we can have auto save still ticked but let’s say that i’m at a venue and i’m a guest engineer and i’m handing you my show file uh your i o is already set for your system then maybe we don’t want to look at that information when it’s being imported from
0:04:00.4 –>
either m cloud or usb drive to the desk so maybe i o config i can choose current which will just choose what is currently on the desk so although we’re not in a show we still have patching and stuff available um so that those are the settings that we can we can adjust there so again for right now we’re gonna leave it all as show and then automate patching is um just do we want you know patching to be able to change if there’s a patching difference in the scenes itself or do we just want you know when i load scenes i don’t want the physical patches to even be looked at same with internal and physical but we’ll keep them all on and hit open so here we go creates a master scene so a master scene is very similar to pro series safe scene it’s basically just a right now it’s
0:05:01. –>
locked so it’s just a scene that is just the desk as it currently is now which is just blanked so and that’s a great way to zero the console is just to load the master scene so if i navigate up here select the master and hit go i now just loaded the master scene and any information that was saved on the console has been erased like patching and stuff so got to be careful but in this case i wanted to do that so now if i just go to store options and go to new scene i can name it so i’m just gonna name it start so now we’ve we’ve saved our first scene and now we’ve captured the console so all the parameters everything has now been captured which is nothing right now but now we can start doing things so maybe we’ll first go to patching so you’ll notice that it is locked when
0:06:01. –>
we first go to patching so you’ll see these red lines here if we tap on or unlock then they are now unlocked and so because i’m on an editor it’s going to be a little different but um i’m still going to show you how to do this so patching if i break down this as easily as i can if we collapse all these categories um there’s a from side and a two side so from external so like a stage box so that’s what we’re looking for so right now it says built in i o that’s just showing us the uh the eight in and outs locally on the desk and then the card has two the console has two card option slots in the rear so right now this is just an offline editor there’s no cards configured and they’re red because they don’t detect anything but if we go to add new device
0:07:00.1 –>
so first of all this is going to show us all of the compatible i o for the hd so these are from the one five series the two five two two three one and then as well as the dl431 generic so if we were gonna console to console patch in even that’s a pro series would be the same thing that would be a generic patch and there’s even auto detect so if you already have your stage boxes connected you can just hit auto and it should just populate what they are so that’s a pretty cool function too but in this case we’re going to configure a dl251 so i’ve selected it it’s red because it doesn’t detect it actually connected to the desk it’s an offline editor but we know that we’re going to patch it into ports just local one and two so i can hit edit port numbers so when we see all the different ports here you’re going to see front of house ports one through four those are just the local ports on the rear the four aes-50
0:08:00.7 –>
ports then you have snake one through eight um this would be if you had right now a dn9680 connected to a snake port you’ll get eight more aes50 ports out of that and then there’s also snake two with eight more so that’s showing you all the potential ports at our disposal so right now we’re just gonna choose front sales front files port one and front of house part two and each of those will be carrying 24 channels of signal bi-directional for 48 by 16. so here we are patching we can do one-to-one patching so i can go i can tap on channel one here and where’s our destination it’s likely going to be an internal input so i can select this to patch to channel one i can certainly do that might take a little bit of time so
0:09:01.2 –>
if i select these hit unpatch if i go to channel one here and press and hold or tap and hold i can select all the channels and then i can just tap on this first input to auto patch so now we’ve patched all 48 inputs to the first 48 channels of the desk and let’s say that our um the lines to the pa are also at the stage so we can use the 251 for outputs as well what we can then do is go to internal busses and right now we’ll look at all of our outputs so we have 96 auxes um 24 matrices as well as our left right and monobus so let’s just say that we’re going to be using matrix 1 2 3 and four for our outputs and if we go back to external we’ll see that we created that dl251 and now i can patch them to outputs one through four
0:10:01.2 –>
so we’ve patched our inputs and as well as the outputs to that stage box and if you need to do you know something else let’s say we didn’t want to do that we wanted to use them for monitors instead i can reselect these unpatch go to the auxes and go you know what oops let’s select all like that and take all 16 oxes to the 16 outputs of the 251 and maybe our lines are going to be actually sourced from front of house so i can come back to buses say left to right and mono i don’t use matrix before but let’s choose those and we can come right out like the built-in out on the back you know outputs one two and three so that’s just a quick and easy way to patch stage box inputs now if we go back to
0:11:01.7 –>
home so home is considered multi-view so this top part is where we can navigate so i can navigate the surface so if i kind of give you an example here all right let’s see let’s look at inputs so if i select this we’ll look at inputs 1 through 8 9 through 16. i can scroll here and you’ll see all of our inputs when we pull this tray up it’s pretty cool you can actually see the faders as well so right now we’re just looking at the faders associated to area a bring that down this is where we can see our vca groups and access them so if i just press and hold that’s where we can start putting in channels to populate vcas as well as pop groups uh et cetera so i’ll close that but the next work workflow view to go over it’s going to
0:12:01.4 –>
be manchino because you can do a lot of stuff in this page it’s really really cool so right now we’re looking at all 144 inputs on the left-hand side we’re going to see the vcas and our pop groups up here uh and this section is whatever we’re looking at here so if i select channel one here’s the eq for the compressor the gate but i can also name it uh right here as well so i can go okay this is gonna be kick in if i hit enter it goes right to input two so let’s do kick out oops we’ll do snare top bottom
0:13:02.7 –>
top two three and then it’s going to be some overheads so nine and ten are overheads okay so i’ve named them and now i can take these and i can select all of them here i miss that one if i want to name or color them i can now just color them red and if i want to put them in a vca group i can just press and hold right there and now i can just swipe and put them in there or if i wanted to do you know kick snare hat group you know wood brass i can do that as well but for this i’m just going to throw them all in just a drum group and go right here name it drums also color red hit enter close so i can do that from here
0:14:02.7 –>
let’s say that we’re setting up our auxes for the first time so if i can click and hold and now i can select every single channel navigate to sends so i know that i’m actually you know in this scenario i’m doing monitors from front of house so let’s say it’s not too bad um we’re just gonna do four floor wedges and four stereo iems okay so i can just select these right here and by default all of the outputs are end of chain which is post fader so what i can do is i can do post dynamics that would be a pre fader i can just tap pre-fader and that will do the same thing but you have all your options here if you want them to be you know post eq post insert etc so right now we’ll just have them set to pre i’ll deselect those and then now with
0:15:01.3 –>
stereo so let’s say we have four stereo items i can actually select these and actually before i do that let’s do this i can look at my auxes here and i go okay so these ones and these ones are going to be stereo so if i go back to this line check option i can make them stereo here well first we’ll make their panning mirror so let’s change the configuration of those now i can go back to my inputs select everything and sends select those and do the same thing so pretty easy to do that i can create groups you can you can do subgroups here so let’s say that um maybe i don’t want all these channels going to that but you get the idea
0:16:00.9 –>
so manchino’s really cool for for just setting up and doing a lot of other things the next work view so if we go back to home general navigation of things are going to be used in these widgets so when we’re in multi-view i can look at an input channel and an output channel simultaneously in both widgets so whatever i am selecting currently or what i’m selecting last is what will populate so right now i’ve selected an input but now if i move away and i select an output now you’ll see the focus is on the output section so we’ll go back to an input here’s our kick in and on this left hand side we’ll see configuration this is where we can see the gains we need to engage phantom power the polarity um if this channel is going to be an ox or turn so if we’re patching to a reverb and returning that it will
0:17:00.8 –>
automatically put that in aux return mode not applicable on our kick channel here input delay uh your pan of course mono bus monobus level linking so linking options um pretty cool linking options here this is on a per channel basis so if you want to have your kicks if you have a kick in kick out and you wanted to have them linked together for example uh but you don’t want you know anything but faders then you could deselect everything and obviously they can be eq differently and also everything but or if you mute one it’ll be in both so that can all be configured right here some patching you can see the direct outs at what tap point we want that to be taken from uh options uh the different processing order so maybe if we want to have the eq to be before dynamics i can now just move that along here or have my insert
0:18:00.8 –>
in between i can do that on a per channel basis next is just our eq we have gate compressor each channel compressor has different modes so this is taken directly from pro series so right now we’re in corrective so there’s corrective adaptive creative and vintage go right back to corrective they just have different flavors different um detention uh detecting detection circuits uh that just operates just a little bit differently um yeah filter through those and see which ones you like side chain abilities so here’s your side chain source and the parameters for the compressor of course the on and off effects so right from the channel we can do inserts so pro series users should be rejoicing because now doing an insert is takes so much less time than it did before
0:19:00.5 –>
whether that is just inserting a compressor on a channel or doing a center return for a reverb we’ll get into that but this is how easy it is so i can go right to my kick i can hit add and it brings up our different slots i can choose any one of these but let’s go to the first one new effect and maybe on the kick i need to do some stuff to kind of make it sound a little bit better so maybe we’ll throw on wave designer add effect as soon as i do that it’s now inserted um turned on and ready to go so it took a lot less time than we would have to in in pro series so while we’re looking here um this right hand side right now we’re looking at one shot pot this is a really cool tool amongst everything else in this different this side menu you can look at like your channel view your sends overview so similar in
0:20:00 –>
pro series but one shot pod is special because if you have auto engaged anything that pops up so for example this effect its parameters will pop up right here where you can use the right hand side assignables to control them if you wanted to have control via the tactile surface if you don’t have auto engaged what’s also cool is you can say you know what i want to be creative and even if i’m looking at something else i want to be able to change the attack of this so if i tap that i can now lock that feature in and now it is just always there until i remove it so i can be going about my business i can minimize this go on to something completely else and that feature is still there but um overall and then the nice thing too is is if you engage auto bring something back populates it but the information is still saved underneath that of what you have uh
0:21:00.8 –>
committed already so for now we’ll just leave auto on but yeah so you have you can have up to three inserts on each channel and with our delay compensation those three inserts can still be aligned in time so there can be phase phase line time coherent or face coherence and time aligned so i’ll get into that either in this video later on or on another one that goes into the delay management to delete compensation management and then to round out the uh section here we can go to sends so we’ll select it on this chick kick channel so we can see where it’s going it’s not going anywhere here but if i wanted to send a little bit of kick to say these stereo ims i can i was going to turn it on like we would have to in pro series but actually if i just reach for the send level start turning it up the uh buses automatically turn on so really
0:22:01.3 –>
cool feature and can’t tell me can’t tell me how many times uh you know i have forgotten to do that in the past with pro series so there they are shows that our pre-fader and all set i’ll deselect those same thing for outputs so looking at aux 2 we can look at aux 1 here same thing configuration we want to make a sub group i can just turn this into let’s say group mode so maybe i want to have aux 1 and 2 be um well let’s take it off group we want to have them for floor wedges but let’s say that um you know 13 and 14. if i select 4 13 here and let’s make that like a stereo group i can link them and i’m going to have the panning be mirror so do i move this left on this side it moves the right mirrored so if i hard pan those configuration let’s turn group mode on
0:23:03.2 –>
if it’s going to go to the stereo bus i want the panning whatever i do here to also feed the stereo bus so i’ll engage uh send pan link as well and if i think that i’m going to be sending this bus to another bus which i might i’m going to just turn this into a flexi aux and that gives us ox mixing so i’ve done quite a bit of stuff here on aux 13 and 14. but here we go so we’ve done that let’s move over to channel view so channel view does the same thing that we just saw in multi view just now exploded so whatever we’re currently looking at we just have a larger view of those options now so if i let’s say select my kick again right now configuration is selected and this is the blown up section of that so i have a much larger view of the pan
0:24:02. –>
[Music] some of the processing orders and the pick-off points you see a lot more stuff if i have any safes engaged they would show up here um this is where it’s going to be you know handy especially on a nice big 21 inch touchscreen on the console for eq you can they’ll feel nice and smooth to to adjust them there so if i do a bunch of eq but i don’t like it i can just press and hold so a lot of these buttons that have a red outline means that you have to press and hold because it’s a destructive task that’s happening you’re going to something is going to happen when you do that that can’t be undone so we’ve just flattened that another unique thing in the eq section here is this phase so if you’re familiar with all pass filters we’re going to go ahead and turn that on so we’re going to press and hold to engage all pass so like a you know the polarity button that is you know if we take it to analog terms
0:25:01.1 –>
it’s just flipping your positive to negative pins um resulting in the opposite waveform so let’s say that you have a you know we’re on kick in and kick out but they’re just too far apart to be a hundred percent or 180 degrees out of phase what we can do is we can turn on all pass here and you have two phase uh adjust frequencies so being that it’s a kick we’re going to make sure that we have low selected and we can either control this via 180 degrees or 90 degrees so it’s mostly in phase it’s mostly there but just a little out so if we keep it at 90 um i can now just swipe this and just listen until it starts sounding better or the way i do it i do it to where it sounds really really bad and then i just go in here and then flip the polarity so either one
0:26:01.4 –>
but uh there’s our eq same thing gate compressors just larger view of that turn the gate on to make that light up same with effects sends just a larger view of that next we have front of house view and this view is actually not on the top toolbar by def uh by default um so if i were to take a quick tangent if i select menu here we can now customize the toolbar so one thing i’ve wanted to do actually is take out the naming page just because of mancino i just don’t seem to use that function and naming was the only way to do that in pro series so a lot of users still keep that and have if they’ve done it for a long time they’ll con continue doing that but i’m actually going to remove this so it’s just i can just press and hold it’s a little jiggle bring it in and drops it out
0:27:00.8 –>
and i’m always going to the effects rack so i’m going to put that up there instead so let me just find it expansion cards effects rack if i just tap that it’s going to throw that right back up there so we can easily customize that and like this front of house view again this is not a default one so it’s one you can grab and throw up there for different work views so i can just tap anywhere to get away so front of house view is really cool because it shifts around the widgets so right now we have just a start looking at an output and an input but if i pull up this bottom tray and let’s say i had a busy mix going on and in fact once i start saving i’m going to bring one up and you can see how kind of useful this is that now i can look at an input i can navigate right here and i can see everything that’s going on
0:28:00.6 –>
so when i have signal coming in we’ll see the gain reduction uh you’ll see the gates you’ll see the eq you’ll see just a lot of stuff happening here and be able to just tap to the different sections to get right to that parameter so really really neat there and if you do need to get to your automation you can just minimize that you know make some changes and move on so right now we haven’t really done anything much yet well we have name things um i guess we’ve done a little bit so let’s go ahead and we’re just going to um save to current scene so we’re still on start but now we’ve just done a little bit more than what we have done before so we’ll just add to that console view just another workflow view or work view i like to use this as kind of like an inspection function because visually you can see metering on
0:29:00.3 –>
everything i can see all of my 144 inputs i can see all 123 outputs access to my vcas access to the pop groups on the right hand side you have macros so if i were to tap and hold there i can see the fader locations for everything i can look at the gain reduction as well as excuse me the gain attenuation as well as the gain reduction of every channel another cool function when you’re on the desk and you’re in console overview is if you actually are still using the control surface i know we always talk about the screen but if you’re still using the eq and your actual tactical controls they’re all of course touch sensitive if you told if you tap on that or if you grab a pot on this right hand side the channel parameters will will populate so you’ll see the eq when you make adjustments you’ll see the gate and comp etc so and then as soon as you let go off the surface then that portion disappears so
0:30:01.8 –>
another cool work for you there and then just to round out the different work views if we go to automation um if if you’re you know if your shows are automation heavy so you know theater or houses of worship or just uh know big tours uh you might want to consider working in automation you would have all of your scenes would show up here you have quick access to all of these um for hitting next and go you can ignore safes so just more parameters than you would just on this top portion up here so a lot of a lot of stuff that is available to those that are heavy into automation as well as looking at events and adding them and all sorts of stuff so what i’m going to do is i’m going to close out of what we’re currently working on and i’m going to open up just a little
0:31:00.4 –>
bit noisier of a show so this apprehended these are tracks that are available on line for free and they’re pretty cool so i’m going to open up this show keep everything to the show hit open so we have a lot more stuff going on in here you can see there’s notes and i can just go right to the top here i think the last scene that has a lot of stuff happening is going to be the scene 16. so i’ll just hit go takes me there and here we go so a little bit more stuff than just a blank uh scene that we were on before or black link show so here’s my eq this is definitely like metal so there’s that clicky getting the click and getting the low end from that um if i pull this up we can just see all the colors now we can see more things happening if i am looking at vcas
0:32:02.9 –>
there’s the you know kickstarter hat toms symbols and if i need to get to the faders i can view them here bass there’s a good amount of guitars synth vocals effects etc mancino kind of helps out a little bit too now we’re looking at things so if i’m in sends here and maybe i’ll mess around with these ones that i know that i haven’t done anything with um if i delete deselect all of those and go okay i need more drums so i can just highlight all of these go right to that aux and be able to go send level turn them on another useful feature is so let’s say that these right here are linked if i want to send these to both of both of these um
0:33:01. –>
here’s the send level for them but if you do the changeover there’s now the pants if you needed to take things and pan them um you know in this bus we could just do the changeover right there but for those of you that are familiar with midas pro 2 specifically with mcas and to quote a good friend of mine uh mcas are one of the coolest functions that nobody knows about so mca’s are monitor control associations and what’s really cool is um you know doing just that so instead of saying like hey i need some more guitar and just highlighting the things to do that i can deselect that and just go okay cool you need guitar i can just put them in a vca like i would if i was mixing right there if i choose the vca for guitars it highlights them right there and now i can go to the busses that they needed them and you know begin to turn them up more vocals okay
0:34:01. –>
you know vox not gonna do that there’s a lot of a lot of stuff happening there but you get the idea navigation so we want to rearrange the desk we want to rearrange our center assign section uh this is where we can do that so um as you see there are five different modes here that are green these are the default layouts that the desk comes with and this is how the channels populate the surface and it may be kind of difficult to explain this in the editor and i might give up here but i’ll show you at least how to configure that just don’t know if i can visually show you when things take effect but here we go so right now you have three different surface level options
0:35:01.1 –>
layout options that you can choose at any one point in time so on this right hand side this is showing us all of our work flows so from automation channel view console view front of house and multi-view so everything up here is right here and when they’re all selected on one surface layout it and which happens to be pro series mode which pro series will have your inputs on area a vcs and outputs on your third bank and then your fourth bank with four is your masters now hc24 mode for example has three area a’s so whatever you’re currently looking at so if i’m in hc24 mode but i’m selecting my inputs i would now have 24 inputs across these three bays with my masters so this would be like on a full size pro 2 with the extend button engaged
0:36:00. –>
and if i were to look at outputs so still in hd24 if i look at outs then it would show me 24 outs or go to vcas 24 vcas you get the picture um vca mode if we were to engage that we would have our um it would take uh inputs on area a and then we’ll give you 12 vca so it turns the masters into the vca function modern mode will give you a mix of view between inputs or excuse me outputs and vca so outputs will populate on the left-hand side and vcs on the right and then theater will have inputs on area a here outputs on bank two and then vcas on three as well as masters so those are the defaults but now we want to customize them so if i choose this new layout
0:37:01.6 –>
it shows us what is custom right here and i can hit edit and this is what we’re currently looking at so the desk itself has four bays or banks so right now there’s a custom bank one two vcas in area b nothing has been populated so if we do a custom bank this will allow us to do whatever we want i can take a kick and move it to this one right here i can have an output right next to it it’s freely whatever you want it to be but i think a lot of people just want maybe just a little tweak for example so what’s cool is i can use say area a area a so right now we’re in like a pro series mode vca outputs and bank 4 can be area b we could do something like that
0:38:00.5 –>
so if i were to store that then we can put specific things in area b and then when that’s engaged it’ll show up on the master side and if i wanted that to be my default workflow i would change every single workflow or if i wanted that to be my default surface layout and i would choose all of my workflows to follow this surface but again i’m just going to keep this at pro series and overall that’s kind of just overall getting getting around we’ve we’ve saved some stuff if i wanted just to save what i’ve done now i can just go to um i’ll probably choose uh scene here and just go to new scene so it puts it right underneath and yeah scene 18 is fine
0:39:03.4 –>
so if we go back to oops go back to show manager we’ll see that we save there there’s the whites icon and that is saving it to the cloud so anytime we so we’ll go over something here so auto save when autosave’s turned on it means that whenever we save something so i’ll actually just do save current state so right up here we’ll see that it’s now going to i guess it already is saved so it’s saved to the show file and then when auto saves turned on it will then we’ll then take the show file that is saved to the desk and push it to the cloud to make sure that that version is up to date with the version that we’re working on right now um and okay let’s go over um routing and effect
0:40:01.5 –>
real quick so let’s say that on my kick here let’s let’s uh i’m hopping around but let’s go back and open up that other basic show saving we’ll open that we’ll open it i’m going to load the master to wipe it and then we’ll load the start scene let’s go back out here’s a kick so we just kind of left off doing a few things but let’s say that we know that on aux 1 we’re going to put a reverb on that so if we go to the effects rack and you’ll see these brackets here in brackets of three this is for vss4 so i’m going to load vss4 which is a very highly acclaimed reverb unit so this comes from the tc electronics system 6000
0:41:02.1 –>
that has been highly regarded for a very long time for being amongst the very very best reverb algorithms money can buy so this is actually in the console it’s free so we’re going to do is we have the choice of it being an insert or send return so we will do a send return function i’m going to choose um we’ll do aux 1 but i’m actually going to make that stereo so i’m going to link them so we’ll do aux one and two and then we’ll have that return on let’s do input 49 and 50. that seems just fine so if i choose 49 here also do link and i could do stereo so the difference between link and stereo is you’ll just have two faders that are linked uh where stereo is just a stereo channel on one fader uh i just like seeing two faders so that’s why when i go to do this and use
0:42:01.2 –>
link it just makes more sense to me so i’ve chosen them and now we just need to press and hold to physically assign them they’ve been assigned and we can see that right here so aux 1 and 2 and the send return here and if i just tap on this instance this is now where we can control it so if i go back to home i have aux 1 i can tap right here if i wanted and just go like uh you know vox verb to left i wanted to do this i could do foxboro right and we want to have them panned as well so and then if i pan the channel to these
0:43:02 –>
buses then that will follow um in the reverb as well because there are stereo inputs and stereo out and then i can go to channel 49 i think is where we put it so if i select 49 go to configuration here you can actually see that oxygen mode is engaged because it knows that it is i returned from um you know knox so we will just hard pan that left and right and now i can name them um you know fox verb oops return jeez
0:44:02. –>
there we go and that’s essentially it for kind of just get up and going again then maybe we’re a little past start now that we started adding effects i could do it like a new scene scene one we could always name that again and rename that but you know we’ve done a little bit more than just the patch now we’ve named a few more things so uh keep that on scene one and and that’s it all right guys well i think um i’ll uh good enough for today and i’m gonna go through a bunch of other functionality here soon so um bear with me and uh hopefully this uh you found this useful all right thank you