MIDAS HD96-24-CC-TP Live Digital Console Control Center Instruction Manual
- June 9, 2024
- MIDAS
Table of Contents
TP Live Digital Console Control Center
Instruction Manual
HD96-24-CC-TP
Live Digital Console Control Centre with 144 Input Channels, 120 Mix Buses,
96 kHz Sample Rate, 21″ Touch Screen and Touring Grade Road Case.
Important Safety Instructions
CAUTION
Risk of Electric Shock!
**** Terminals marked with this symbol carryelectrical current of sufficient
magnitudeto constitute risk of electric shock. Use only high-quality
professional speaker cables with ¼” TS or twist-locking plugs pre-installed.
All other installation or modification should be performed only by qualified
personnel.
This symbol, wherever it appears, alerts you to the presence of
uninsulated dangerous voltage inside the enclosure – voltage that may be
sufficient to constitute a risk f shock.
This symbol, wherever it appears, alerts you to important operating and
maintenance instructions in the accompanying literature. Please read the
manual.
Caution
To reduce the risk of electric shock, do notremove the top cover (or the rear
section). No user serviceable parts inside. Refer servicing to qualified
personnel.
Caution
To reduce the risk of fire or electric shock, do not expose this appliance to
rain and moisture. The apparatus shall not be exposed to dripping or splashing
liquids and no objects filled with liquids, such as vases, shall be placed on
the apparatus.
Caution
These service instructions are for use by qualified service personnel only. To
reduce the risk of electric shock do not perform any servicing other than that
contained in the operation instructions. Repairs have to be performed by
qualified service personnel.
- Read these instructions.
- Keep these instructions.
- Heed all warnings.
- Follow all instructions.
- Do not use this apparatus near water.
- Clean only with dry cloth.
- Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
- Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
- Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet.
- Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
- Use only attachments/accessories specified by the manufacturer.
- Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
- Unplug this apparatus during lightning storms or when unused for long periods of time.
- Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
- The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection.
- Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.
- Correct disposal of this product: This symbol indicates that this product must not be disposed of with household waste, according to the WEEE Directive (2012/19/EU) and your national law. This product should be taken to a collection center licensed for the recycling of waste electrical and electronic equipment (EEE). The mishandling of this type of waste could have a possible negative impact on the environment and human health due to potentially hazardous substances that are generally associated with EEE. At the same time, your cooperation in the correct disposal of this product will contribute to the efficient use of natural resources. For more information about where you can take your waste equipment for recycling, please contact your local city office, or your household waste collection service.
- Do not install in a confined space, such as a book case or similar unit.
- Do not place naked flame sources, such as lighted candles, on the apparatus.
- Please keep the environmental aspects of batterydisposal in mind. Batteries must be disposed-of at a battery collection point.
- This apparatus may be used in tropical and moderate climates up to 45°C.
LEGAL DISCLAIMER
Music Tribe accepts no liability for any loss which may be suffered by any
person who relies either wholly or in part upon any description, photograph,
or statement contained herein. Technical specifications, appearances and other
information are subject to change without notice. All trademarks are the
property of their respective owners. Midas, Klark Teknik, Lab Gruppen, Lake,
Tannoy, Turbosound, TC Electronic, TC Helicon, Behringer, Bugera, Oberheim,
Auratone, Aston Microphones and Coolaudio are trademarks or registered
trademarks of Music Tribe Global Brands Ltd. © Music Tribe Global Brands Ltd.
2021 All rights reserved.
LIMITED WARRANTY
For the applicable warranty terms and conditions and additional information regarding Music Tribe’s Limited Warranty, please see complete details online at musictribe.com/warranty.
CAUTION Risk of fire or explosion if the battery is replaced b an incorrect type. Replace only with the same or equivalent type. Disposal of a battery into fire, hot oven, mechanically crushing or cutting of a battery can result in an explosion; Leaving a battery in an extremely high temperature surrounding environment that can result in an explosion or the leakage of flammable liquid or gas; and A battery subjected to extremely low air pressure that may result in an explosion or the leakage of flammable liquid or gas. Attention should be drawn to the environmental aspects of battery disposal.
WARNING
Do not ingest the battery, Chemical Burn Hazard. This product contains a
coin/button cell battery. If the coin/button cell battery is swallowed, it
can cause severe internal burns in just 2 hours and can lead to death. Keep
new and used batteries away from children. If you think batteries might have
been swallowed or placed inside any part of the body, seek immediate medical
attention.
HD96-24 Overview
Chapter 1: Introduction
Welcome to the HD96-24 Digital Mixing System. The HD96-24 is a
transformation of the Midas live sound experience, designed for the modern day
live sound
engineer without compromise.
Designed from the ground up the HD96-24 system is the first step in a new way
of mixing and interacting with a Midas mixing console, while keeping the
famous no-compromise sonic quality. New forward-thinking ideas including large
touch screen control, modern multi-touch gesture control with separate widget
style areas and the Midas mCloud system to help manage many duties of the
HD96-24 system are just a few of the new concepts created to take mixing audio
to a new level.
To obtain the best results please read this quick start guide (QSG) and enjoy
the future of mixing with the HD96-24 System.
About This Guide
This QSG is designed to quickly familiarize the user with the console layout,
show how to configure and set the system up and then show how to carry out
basic functions needed to start mixing audio.
This document is aimed at professional engineers, such as front of house (FOH)
and monitor (MON) engineers, who will be using this equipment in a live sound
environment. It is assumed that the reader has previous experience of using
professional audio equipment.
For full details of the HD96-24 system please refer to the HD96-24 owner’s
manual, which can be found on our website at midasconsoles.com. Its highly
advised that you read the full manual as many improvements will take place and
some of the screenshots in this QSG may be out of date as the software rapidly
improves. We are at the nception of this powerful new audio mixing system
which will only grow and develop over time.
HD96-24 System Firmware Version
Our team of software engineers are constantly working to improve and expand
the features of the HD96-24. It is crucial to have the latest firmware version
installed on your system in order to achieve the best results from your
console. Updates can be found in the Midas mCloud (cloud.midasconsoles.com), a
new approach to track and store system updates or via the midasconsoles.com
website.
HD96-24 Touchscreen
Warning: the HD96-24 should not be placed or operated in direct sunlight. If
the screen is exposed to direct sunlight it may be come unresponsive and too
hot to handle. Please ensure you have suitable cover for your console.
Warranty and Registration
Midas are world renowned for quality and reliability. This product come with
the standard Midas 10-year warranty.
Registration of your console is achieved by using the Midas mCloud.
Service and Support
The HD96-24 is state of the art technology. We provide incredible levels of
support and service available via the Midas mCloud or by our service team to
give owners and users confidence in Midas products.
Commonly Used Terms and Definitions
Below are some of the terms used in this QSG. Knowing these terms and what
they mean will make reading this document straight forward.
GUI – Graphic User Interface or Touchscreen.
Channel – Any input, Output (Aux, Matrix).
Path – Any Input, Output, VCA or Master.
POPulation Group – A group of channels used to bring or recall paths to
the surface.
Contributions – Any path that contributes to an output bus.
Touch – The action of pressing the touch screen to turn on or select a
function.
Select – The same as Touch.
Pinch – Two fingers squeezed together, used to tighten or
widen equalizer width (Q).
Swipe – Moving a page left to right or up and down by pressing, holding
and moving in the required direction.
Press and Hold – Either a way to select all the paths on a current page for
multiple editing or a way to engage a parameter function that may be critical
if pressed in error, for example flatting the EQ is a press and hold function.
Widget – The name for a window or various windows displaying information on
the GUI as part of a workflow.
Workflow – Visualizes the activities needed to mix audio.
Pot – A physical control used to adjust a level or value.
Chapter 2: HD96-24 Overview
Introducing the HD96-24 Digital Mixing System.
For decades Midas has been a driving force in the world of pro audio. Building
on the incredible success of the XL8 and PRO Series with their exemplary audio
performance and road-proven rugged and reliable construction, the Midas PRO
Series became the gold standard in concert touring and installed live sound.
Offering the same outstanding sample-synchronised and phase-coherent audio
performance, interpolated control functions and intuitive navigation, the
PRO2, PRO3, PRO6, PRO9 and later PRO-X Live Audio Systems have become one of
the industry’s main choices for live sound mixing.
Now the HD96-24 pushes the boundaries further yet again with a 21″ touchscreen
for hands on instant access to all controls. Parameter adjustment becomes fast
and easy with gesture touch interaction using the precise and accurate multi-
touch display which allows up to 10 simultaneous touches. Featuring 144
Simultaneous flexi inputs and 123 (96 x Flexi Aux + 24 x Matrix + 3 Output
busses = 123) time-aligned, phase-coherent busses with no stealing of
resources in channel or bus counts. True and consistent 96 kHz sampling
frequency and 64 bit floating point processing provide exemplary quality audio
processing, and the oversampled and interpolated 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.
The HD96-24 features the rugged and road-proven Klark Teknik HyperMAC (HMAC)
and SuperMAC (AES50-compliant) networking technologies with their ultra-low
and deterministic latencies and robust error correction. Its powerful audio
networking offers up to up to 624 inputs and 654 outputs at the 96kHz sample
frequency depending on configuration.
The 24 VCA (Variable Control Association) and 24 POP (POPulation) groups, combined with the advanced touch screen navigation system, 28 faders, assignable controls and innovative shortcut area allow simultaneous display and control of all the critical information required to craft an unprecedented mix experience.
Applications
The HD96-24 is the go-to high-end Midas Digital Console System, akin to the
‘industry standard’ Heritage 3000 and XL4. Although the HD96-24 is designed
fthe traditional touring live sound environment, it is also ideal for theatre,
house of worship installations and broadcast. So, being a truly multi-
functional console in the Midas tradition, the HD96-24 is suitable for many
applications, such as:
Live sound touring FOH or MON duties.
Live sound theatre FOH or MON duties.
Live sound house of worship FOH or MON duties.
System busses
The HD96-24 has comprehensive system busses to suit demanding applications,
compromising of:
- 2 stereo solo busses, routable from all locations and allowing for dual operator.
- 3 master busses (1 Stereo 1 mono), routable from the mic/line inputs (up to 144), and 96 aux busses.
- 24 matrix busses, routable from the mic/line inputs (up to 144), 96 aux busses and three stereo busses.
- 96 aux busses (either standard or flexi-aux, routable from the mic/line inputs (up to 144) or flexi aux bus to aux bus for group or stem style processing.
All of the bus routings provide simultaneous and time aligned mixing of all
the sources, which will be switchable for minimum latency requirements.
For monitor mixing, the master, matrix and aux busses can all be routed
directly from the input channels, with independent level controls providing up
to 123 monitor mix busses. Flexi-Aux busses allow group mixing of channels to
be sent to Auxes, Matrices or the Masters, for example, mix and process all
your drums via a Flexi-Aux then send to an IEM Aux.
For traditional FOH sub group mixing, any (or all) of the aux busses can
change to operate post-channel fader and pan (that is, aux gain fixed at
unity).
Mix matrix
Fundamentally, the mix matrix defines the capability of the HD96-24. Probably
the best way to imagine the mix matrix is to think of an analogue console
layout, where inputs run vertically, and busses run horizontally. A mix matrix
is usually defined as the number of busses and the quantity of simultaneously-
mixable inputs there are per bus. The following diagrams illustrate the
capability within the HD96-24 system.
Network
Pinch gesture showing EQ width adjustment.
The network of the HD96-24 utilises the physical connectivity of Ethernet
(EtherCon® connectors and Cat 5e/copper cable) but replaces its data protocol
with AES50 protocol (implemented as SuperMac) and the HyperMac high capacity
system, which are more suited to high quality, low latency audio distribution.
The use of the AES standard allows straightforward interfacing with any third-
party hardware that also utilises this connection.
AES50 connections carry digital audio and control data bi-directionally down a
single cable. Cat 5e cable is used for the ‘local’ connections and the dual
digital ‘snake’ (equivalent to a 384-channel analogue multi-core, 192 channels
per snake connection) between console and I/O. The combination of audio,
control, clock and third-party Ethernet data in a single network means that
the hardware interfaces on a single RJ45 connection.
All system connections can be duplicated for full dual redundancy.
mCloud Network
The Midas mCloud network is a brand-new concept in file and system management.
The HD96-24 has built in Wi-Fi capabilities which allow the surface to share
its information over a Wi-Fi connection and any other network connections to
the mCloud. Be reassured the connection is completely safe and great lengths
have been taken to keep information secure.
The mCloud can be used to store your show files, preset files and all other
types of data from the console. If you leave your USB stick with your vital
settings at home, you can directly log into your mCloud account and load your
show file straight to the HD96-24 without breaking a sweat.
New system updates can be downloaded directly to the surface ready for you to
update when you’re ready. A list of all previous software versions will be
stored on the HD96-24 for peace of mind.
It also allows audio rental companies to keep a track of registrations,
software versions, warranties and diagnostic logs. All the admin for running a
busy hire company in one place.
Each user of the HD96-24 will be prompted to set up a user profile which also
in turn configures your mCloud account. Visit cloud.midasconsoles.com to set
up and use your account.
HD96-24 software
The operating system of the HD96-24 is Linux, which is an open-source, stable,
proven operating system (OS). Linux is used in many mission-critical
applications worldwide and has allowed Midas’ software engineers to write a
ground-up system that contains no ‘hidden’ or unused code. This has resulted
in an efficient, compact application, which is quick in operation, quick
booting and comparatively easy to debug.
Graphic User Interface (GUI)
The HD96-24 has a 21” touch screen that provides a quick and intuitive
workflow. Modern touch gestures such as pinch and smooth touch screen faders
have been included to speed up work flow and let you concentrate on the mix.
Not only does the GUI reflect what is happening on the control surface, but it
also provides extra functionality via a top and side bar menu. These menus
provide access to all the pages that you will require to set up, configure,
manage and operate the entire control surface.
Gone are the days of only one touch on a screen at a time. Use both hands to
manipulate up to 10 faders at a time if you so wish.
Independent widget style areas are extensively used to display various
different types of information at once, all fully customisable to suit your
workflow. System card expansion
The HD96-24 has 2 x CM-1 slots built in for further audio expansion. Adding up
to an additional 128 channels of I/O greatly increases networked capabilities.
Virtual sound checks and recording have never been easier to set-up and
achieve with flexible options. Being able to support new and emerging
protocols via its two industry-standard expansion slots gives the HD96-24 a
greatly extended shelf life.
HD96-24 Basic Operation
Chapter 3: Before You Start
Principles of operation Control surface operation is based on the concept
of colours and groups rather than ‘layering’ or ‘paging’, which is the case
with most digital consoles on the market today. With so many channels
available it is far easier to remember them by their user-configured
individual/group colour and name rather than their channel number. Tags can
also be used to group channels together in order to speed up certain
functions, for example, changing the colour of all the drum channels.
The control surface is populated with instantly recognisable controls that are
logically distributed in major sections, so that all the controls you need to
access most of the time are always on the control surface, while the remainder
are only one action away. You can display all I/O meters, both on the control
surface and the GUI via the Console View workflow, to give instant monitoring
and metering feedback.
Operating modes
You can change certain aspects of the control centre operation by assigning
different tasks to certain areas of the control surface.
Hints and tips
Checking the Console View screen frequently is a good idea. This provides at a
glance an overview of the control surface’s input/output status.
The Manchino (Multi Edit) page is a great place to set various inputs or
outputs to user defined levels or settings e.g. for setting all faders to 0dB,
setting all contributions into a particular aux to be Pre-fade, or routing a
large number of paths to the Stereo bus. Details of how it works can be found
in full HD96-24 manual.
User Journey
When the HD96-24 is switched on for the first time you will be presented with
the welcome screen, then the Country or Region selection page. In order to
enjothe full benefits of the mCloud system it is advised an internet wired or
wireless network connection is available. You will then be guided through the
various pages to set up and login into your mCloud account.
Setting up a User Profile
The HD96-24 incorporates a system of User Profiles for storing information
about the console set-up and other User info. Each person using the HD system
can have their own profile which keeps all your show files and other useful
information on the console and via the mCloud network if the HD system has an
active internet connection.
After the system has been registered and is turned on for the second time you
will be asked to either log in or create and add a new profile.
- Current selected profile.
- Change user profile
- Login to your mCloud account (all active files in your account will be available in Show Manager).
- Safe Mode (the show database is not available in safe mode, but you can still mix).
- Activates the lock screen.
- Shutdown the console.
Saving your work
We recommend that you save your work regularly to the mCloud and a USB stick
while carrying out the procedures included in this guide. Not only is this
good practice during normal operation, but in this instance, it may save you
from losing some set-ups that could prove useful later on.
Saving a show versus storing a scene
It is important to understand the differences between saving a show and
storing a scene. Storing a scene saves the current settings of the system to
the show file. Scene data is never updated unless you manually store a scene.
The show file remains unsaved in RAM. Although the state of the control
surface is copied every five seconds, it is not stored in a scene. Instead, it
is placed in the NVRAM (nonvolatile random-access memory) of the control
surface’s memory, which is a type of RAM that doesn’t lose its data when the
power goes off. If the control surface loses power accidentally, these
settings are loaded so that audio parameters are identical, thus avoiding
audio level jumps. Saving a show copies the show file onto the internal solid-
state disk of the control surface. This provides you with a ‘permanent’ copy,
provided you shut down the system properly as detailed in the following
section. You also have the option of saving your show to your Midas mCloud
account. This gives extra security to your work and allows your show file to
be restored to a console even if you have lost your USB stick.
Shutting down the control centre properly
When switching off the control surface, we recommend that you use the shutdown
option in the GUI menu.
Shutdwon
Hold Shutdown for a short time while the line traces around the outside of
the button. The surface will then start the shutdown routine, the screen will
go blank, the Midas logo will briefly be displayed, then the screen will go
blank for a second time indicating the shutdown procedure has finished. Only
once the system has been shutdown correctly is it safe to turn off the power
switch. By using shutdown, the cached copy of the show data, which is
maintained by the system, is automatically stored. Shutdown then uses the
current show file, NVRAM data and cache files to restore the control surface
to exactly the same state as at power down; even to the point of loading the
unsaved show and placing you at the correct scene, with non-stored scene data
at the control surface.
If you don’t use the Shutdown option the audio parameters are still restored,
but the show and show status (saved/unsaved) cannot be restored automatically.
You must manually reload the show, and any unsaved changes will be lost.
The Midas mCloud system mCloud handles all show file storage at its basic
level. Imagine leaving your USB stick at home but not worrying as once you
sign into your mCloud account on the surface you can see all your shows in one
convenient place. Below is a status list to show how your files are synced or
not.
Status if connected to the mCloud:
- Synced All versions of this show have been pushed to the mCloud; any newer mCloud versions have been synced to the console.
- Pending One or more newer versions have been created on the console and will be synced shortly.
- Syncing Edits are being pushed to and/or pulled from the mCloud.
- Conflicted Edits have been made on both console and cloud: awaiting user to select the correct current version.
- Error The sync service encountered a problem trying to sync this resource (e.g. due to an issue communication with the mCloud).
“Connected to mCloud” means the console can reach the mCloud server, the current user is mCloud-enabled and a valid password has been entered (or a valid token saved from a previous session).
Status if offline:
- Synced Latest version of shows on the console have been synced to the mCloud. Newer mCloud versions will be unknown.
- Pending One or more newer versions have been created on the console and will be scheduled for sync next time the console is connected.
- Syncing n/a
- Conflicted n/a
- Error n/a
Chapter 4: About the Control Surface
The HD96-24 has been designed from the ground up to give the operator easy-to-
use touchscreen controls along with familiar analogue style controls. This
clever combining of working methods ensures any engineer can walk up to this
console and instantly feel at home, but when required can delve deeper into
the system to achieve complex routing and detailed sonic manipulation.
The surface is constructed on a robust Midas steel frame chassis similar to
those used in established Midas analogue products. All of the surface is
controlled from two processors. All associated power supplies, computer
motherboards, Wi-Fi router, Bluetooth, memory, graphics cards etc. are housed
within the surface, which also contains a digital audio router box that
supports local I/O connectors on the rear panel. Substantial forced air-
cooling is provided by a bulkhead and large (but slow moving) internal fans.
The large capacitive touchscreen displays a large quantity of information and
can be customised to match your workflow to make mixing a pleasure. Using
modern day gestures from mobile phone and tablet technology such as pinch and
swipe makes parameter manipulation even faster and more responsive with up to
10 simultaneous touch points.
The HD96-24 system is designed to be easy to see for colour blind people.
Great care has been taken to make the system visible to as many types of
colour blind people as possible.
Control surface layout
The HD96-24 surface can be spilt in to 7 distinct areas making operation quick
and precise with all controls close to hand. The areas are defined in the
diagram below.
The HD96-24 has 4 fully assignable fader banks split into three banks of eight
faders and one bank with four faders each with individual full colour ultra-
bright LCD displays. Any section can be assigned to any function, be it
inputs, outputs, POPs, VCA, Matrices or Masters. This concept allows the user
to fully customise the surface to suit their mixing preferences.
The global assignable shortcuts area can be used to provide many simple and
complex functions with macro style controls right at your fingertips. E.g. Pop
group selection, triggering macros or automation recall.
The assignable controls above the faders and to the side of the GUI can be
fully customised to suit your workflow. Functions can be changed quickly with
the cursor arrow controls. For e.g. altering pan position, aux control or gain
changes.
Channel strip layout
Each channel strip within a bank provides:
- LCD Display – A high-resolution display providing metering, channel information and flip status. and local parameter values.
- Sel (Fader Channel Select) – This button selects the channel for a variety of operations, including adjusting parameters from the GUI and assigning to the channel detail area.
- COMP – Compressor gain reduction meter (GR).
- INPUT – Input metering.
- GATE – Gate gain attenuation meter (GA).
- MUTE – Press the MUTE button to mute (turn off) the channel.
- SOLO – Press SOLO to listen to the channel signal.
- LEVEL – The fader is touch sensitive providing gain control from -∞ to +10dB (or +6dB if contributing to an output bus).
Global Assignable Shortcuts
The Global Assignable Shortcuts area in the centre of the surface allows
various functions to be placed within easy reach of the user. Twelve full
colour LCD displays
with selection buttons show a great deal of information and allow for complex
operations to be recalled with one button press.
Home
The HOME key is located under the Shortcuts area. When pressed the HOME
workflow is brought to the GUI.
Tap
The TAP button is used to set the tempo for effects assigned to the Global TAP
tempo function. Commonly 8 taps are required for an accurate tempo.
Arrow Keys
These two keys tab through the various pages of the global assignable
shortcuts pages which can be fully customised.
Front and rear panel connections
The surface has connector panels on both the front and rear. The front
connector panel to the right of the GUI has an XLR socket and a USB sockets
for connecting a talk
mic and USB device, respectively. For example, you can connect a USB memory
stick for show file backup and transfer. Under the armrests at either side
there are two 6.35 mm headphone sockets which link to Mon A and Mon B
respectively.
The familiar looking Channel Detail Area is used for hands on control with sections for Config, Equaliser, Dynamics, Phones, Talk, Solo, Monitor, Main Bus and Master. This area makes using the surface easy to use with a familiar analogue feel. The 4 x Change Over (C/O) buttons for Master, Mono, Monitor A and Monitor B assign thecontrol to the fader below for quick control by fader level.
Chapter 5: System Setup
Unpacking the equipment
After carefully unpacking the equipment, save all packing materials, as they
will prove useful should it become necessary to transport the equipment later.
Inspect the equipment carefully for any sign of damage incurred during
transportation. It has undergone stringent quality control inspection and
tests prior to packing and was in perfect condition when it left the factory.
However, if the equipment shows any signs of damage, notify the transportation
company without delay. Only you, the consignee, may institute a claim against
the carrier for damage during transportation.
Racking the I/O
Please take note of the rack requirements as detailed below:
To ensure the correct installation and function of the outboard equipment, any
rack has to meet the following general requirements:
Shock mounting (for non-installation environments)
The rack must provide adequate shock protection of the units it houses by
incorporating appropriately-designed shock protection methods. For example, a
foam-suspended rack or a frame suspended on anti-vibration mounts.
Ventilation
The HD96-24 has air intake vents on each side of the console. Air is drawn in
through the console side vents and exits via the two fans on the rear of the
surface. It is vital none of these airways are blocked as overheating may
occur if airflow is restricted.
The Midas I/O units have been designed such that their internal ventilation
airflow is drawn in through the front of the unit and expelled though the
rear. To facilitate this, rack design must ensure that cool air can flow
freely through the rack in the same direction, that is, in through the front
of the rack and out through the rear. Situations where the air flows in a
circular direction around and through a Midas I/O unit must be prevented.
Midas recommends that racks with fully opening fron and rear doors are used.
Caution Never combine units in the same rack that have been designed for
a ventilation air flow direction other than that designed for the MIDAS units.
To avoid this, we recommend that any non-MIDAS units are housed separately.
Rack mount supports
Always secure the rear of the Midas I/O units to the rack via their rear rack
mount support brackets. These brackets are fitted to every Midas I/O unit and
are recommended for use in touring applications.
Handles on rack case
You must ensure that there are sufficient external handles fitted to the rack
casing to enable the rack to be manoeuvred easily and safely, and by the
number of personnel suitable for the task. Also, these handles must be fit for
purpose.
Clearance at rear of units
Ensure an adequate clearance at the rear of the units to provide sufficient
free space to enable the cables to achieve their minimum bend radius.
Securing the cables
We recommend that the cables at the rear of the units be tidied using lacing
bars and cable ties. This should provide optimum access to the rear of the
units for connecting other cables, switching the units on/off etc., and also
to give maximum visibility of the units’ LEDs for determining communication
status, link status, condition of audio etc.
Connection instructions
There are currently two ways to connect the system equipment together:
- HD96-24 surface to a Klark Teknik DN9680 via copper (up to 100 m) or with a multi-mode (MM) fibre optic snake (up to 500 m). Then Klark Teknik DN9680 to I/O box (for example, DL231) via Cat5E (up to 100 m).
- HD96-24 surface direct to I/O (for example, DL231) via Cat5E (up to 100 m).
It is imperative only STP Cat5E Rated cables are used!
Length = 100M Point to point as per the Cate5E ethernet protocol – Please take
into consideration any in line connections or links reduce the overall cable
length.
AES50 Cat5e STP vs UTP cables.
Music Tribe are standardising the use of Ethercon cables used for AES50
connections and state that customers must use Shielded Twisted Pair (STP)
cable only with shielded RJ45 plugs and Ethercon shells.
STP cable has the added advantage of a foil or braided shield that guards the
cable against electromagnetic interference. A good foil or braided shield and
correctly connected shielded plugs and shells also helps protect against
Electrostatic discharge (ESD) that can be the cause of dropouts on AES50
connections.
Occasionally shielded Ethercon cables will leave the shield disconnected on
one end to help with ground loops, even though it has no benefit for AES50
connections. These connections should have continuity of the shield on both
ends including the Ethercon shells. This will ensure the best possible
protection against strong ESD impacts, such as handling discharges or even
lightning strikes in the neighbourhood.
All AES/EBU connections must use good quality 110Ω AES/EBU cable to
ensure correct operation.
System components
Below is a list of currently compatible system I/O components with the HD
software. When I/O is connected to the HD96-24 system it will be necessary to
be update to the latest HD I/O software. The updater is built into the console
and guides you through the update process. Once updated, I/O boxes will still
be compatible with Pro Series consoles.
Note: I/O boxes will need to be updated in order to work with the HD96-24
system. The I/O Box and Device updater can be found in the Update Manager
page. With all your I/O connected press Sync I/O and follow the instructions.
Updated I/O boxes are fully compatible with Pro Series consoles.
I/O UNIT
DL231 – 2 award-winning Midas microphone preamplifi ers per input with
switchable +48 V phantom power 2 dual redundant AES50 network ports with
independent phase-locked loop synchronisation 24 electronically balanced
output channels can be sourced from microphone preamplifiers or AES50 ports|
DL151 – 24 award-winning Midas analogue
mic preamps with switchable +48 V phantom power|
DL152 – 24 active-balanced low impedance
line-level outputs|
DL153 – 16 award-winning Midas analogue mic preamps with switchable +48 V
phantom power 8 active-balanced low impedance line-level outputs|
DL154 – 16 active-balanced low impe dance line-level outputs 8 award-winning
Midas analogue mic preamps with switchable +48 V phantom power| 
DL155 – 8 award-winning Midas analogue ic reamps with switchable +48 V
phantom power 8 active-balanced low-impedance line level outputs 8 AES3
(AES/EBU) digital inputs and 8| 
DL251 – Audio System I/O This is supplied as a fixed configuration unit with
48 mic/line inputs and 16 outputs.| 
DL252 – Audio System I/O This is supplied as a fixed configuration unit with
16 ic/line inputs and 48 outputs.| 
HD96-24 Basic Operation
Setting up the ID of the unit(s)
After connecting up your system, you may need to set up the ID of the unit(s)
in the rack, such as the DL231 I/O or DL15x I/O, as each unit within the same
family of units
must have its own unique ID number.
Please refer to the DL series or HD manuals for full details on changing unit
ID’s.
A connector panel on the rear of the control surface has two main sections. On the left are two mains power inlet and ventilation assemblies, with 2 x AC power switches below. The right-section contains connections for the Snake/Multicore, Ethernet control, eight analogue audio inputs and outputs, three AES3 inputs and outputs, diagnostics, word clock, Twin HDMI™ external monitor outputs, Midi, Talkback (line level input), two expansion card slots and USB Hub.
External interfaces and peripheral devices
Various devices can be used with the HD96-24 such an external USB keyboard.
MIDI Standard 5-pin connectors are housed in the rear panel for use as MIDI
IN, OUT and THRU ports. These are also fitted on some I/O units (DL231, DL251
for example) and, therefore, are available at both the FOH and the stage
locations.
USB 2 x 4way USB 3.0 hubs are provided on the rear of the HD96-24. In
addition, a USB port can be found to the right of GUI screen for convenient
file transfer.
The Fader Port USB outputs are only for use with future fader bank expansions.
External monitor The HD96-24 has 2 HDMI™ connections on the rear panel to
connect extra displays (1920 x 1080p 59.94Hz/60Hz 16:9 & 720 x 480p
59.94Hz/60Hz 16:9 supported).
Ethernet port The Ethernet port on the rear of the surface is for connecting
the HD96-24 to a network or external wireless router.
Ultranet 2 x Ports for connecting Ultranet enabled devices.
Chapter 6 Surface Controls
The HD96-24 has full multi-touch screen control. This gives the user some
of the feeling of working with analogue consoles again whilst at the same time
incorporating modern ways of interacting with everyday products like
smartphones and tablets. One of the advantages digital consoles have over
analogue ones is that their channel count is not limited by the control
surface hardware. However, this means that only a certain number of channels
can be shown on the control surface at any time, while the others are
available at the touch of the screen (GUI) or assignable shortcuts area.
Pressing the SEL (select) button on any input or output will bring the chosen
channel to the surface controls (also to the touch screen widgets). From here
adjustments to many common parameters can be changed such as Gain, EQ,
Dynamics or Pan position. This way of working has a familiar feel that you
will understand and be comfortable to use. Mute will turn the channel off and
solo will send the audio of the selected path to either the A or B solo bus
depending on path settings.
Navigating via the surface detail area
The surface is laid out with a familiar analogue feel for easy operation.
Everyday functions are available for hands on operation. All functions are
mirrored in the GUI with parameter values highlighted on touch. This allows
you to make changes quickly to the selected channel or path.
-
Meters – 12 LEDs Stereo input meters display signals from -35 dB to 20 dB.
-
Link – Links the currently selected input channel to the next input.
Note outputs always link odd to even, i.e. Aux 1 to 2 etc. -
Talk – Send the talk bus to the select channel.
-
Gain – Adjust the gain of the input channel pre-amp.
-
Trim – Adjust the trim level for inputs -40 to 20 dB or for Aux, Matrices and Master Busses -12 to 6 dB.
-
HPF – High Pass Filter (HPF) control with a range from 10 Hz to 10 kHz.
-
LPF – Low Pass Filter (LPF) control with a range from 40 Hz to 20 kHz.
-
Dir Mute – Mutes the direct out of the currently selected channel.
-
Insert – Switches on the insert point on the selected channel.
-
48 V – Activates 48 V phantom power on the selected input channel.
-
Ø – Polarity Switch. Changes the polarity of the selected channel by 180° (often inaccurately called phase reverse as the button only inverts polarity).
-
HPF on – Activates the HPF.
-
LPF on – Activates the LPF.
-
On – Turns the Equaliser on for the selected channel.
-
Gain – Each band has +- 16.2 dB of range.
-
Frequency – Each band as a frequency range of 16 Hz to 25 kHz.
-
Width – The width or Q of an EQ band can be changed from 0.3 to 5.3.
-
Shape – Changes the shape of Band For inputs the shape options include, Bell, Bright, Classic and Soft. For outputs the Shape button has Shelf, LP 6 dB, LP 12 dB and Bell modes.
-
Shape – Changes the shape of Band For inputs the shape options include, Bell, Deep, Classic and Warm. For outputs the Shape button has Shelf, HP 6 dB, HP 12 dB and Bell modes.
Dynamics
-
Compressor GR Meter – Compressor (Comp) Gain Reduction Meter (Range -1 dB to – 23 dB).
-
GATE GA Meter – Gate Gain Attenuator Meter Range (-1 dB to -34 dB).
-
SEL Comp – Selects the compressor setting for the selected channel.
-
ON – Turns the compressor on for the selected channel.
-
SEL Gate – Selects the gate setting for the selected channel.
-
ON – Turns the gate on for the selected channel.
-
Mode – Selects the mode of the compressor (Corrective, Adaptive, Creative and Vintage) or gate (Gate or Ducker).
-
Attack – Controls the attack settings of the gate or comp.
-
Hold – Controls the hold value of the gate. Hold is the amount of time the gate is open until the release part of the gate starts.
-
Release – Controls the release characteristic of the gate and comp.
-
Range/Ratio – Range relates to the gate and controls the amount of signal allowed to pass when the gate is closed. This is useful on drums to allow some of the dry drum sound through when the gate is closed.
Ratio relates to the comp. With a ratio setting of 3:1 for every 1 dB above the threshold point the signal will be turned down or compressed by 3 dB. -
Threshold – Adjust the point at which either the gate opens, or compression starts to take place.
-
Knee – Changes the compression knee setting (Hard, Medium or Soft).
-
Make-Up – Adds gain to the compressors output. This allows you to balance the levels of the compressor when on and off by increasing the make-up gain to match the amount of gain reduction taking place.
(Range 0 dB to 24 dB). -
Sidechain Frequency – Set the frequency that the sidechain of the gate or comp listen to in order to give tighter control of a certain range of frequencies.
-
On – Turns the sidechain of the gate or comp on/off.
-
Listen – Sends the selected sidechain frequency to the solo bus for monitoring and to give accurate adjustment of the frequency.
-
Width – Changes the width of the sidechain for the gate and comp (0.1 Oct, 0.3 Oct, 1 Oct and 2 Oct).
Phones
- Phones A – Level control.
- Phones B – Level Control.
- Phones A – Mute button.
- Phones B – Mute button.
Talk
- Talk Gain – Adjust the gain of the surface Talk Mic input.
- Talk Mic – XLR input for local talk mic.
- Talk INT (Internal) – Allows the talk mic to be sent to the internal talk bus. For example, it can be used to send your talk mic into a channel to test signal flow.
- Talk EXT (External) – Allows your local talk mic to be routed to the Ext Talk.
- OSC INT – Activates the oscillator on the selected internal bus.
- OSC EXT – Sends the oscillator to the Ext Talk bus. This can be used to send the oscillator to a channel if required by patching the Ext Talk out in the monitor patching page to a channel.
Solo
- A PFL – Indicates an input channel is being heard by Pre Fader Listen via Solo A bus.
- B PFL – Indicates an input channel is being heard by Pre Fader Listen via Solo B bus.
- A PFL – Indicates an output channel is being heard by Pre Fader Listen via Solo A bus.
- B PFL – Indicates an output channel is being heard by Pre Fader Listen via Solo B bus.
- Add (A) – Allows more than one input channel to be listened at once on the A solo bus.
- Add (B) – Allows more than one input channel to be listened at once on the B solo bus.
- Clear (A) – Clears any current solo selections.
- Clear (B) – Clears any current solo selections.
Main Bus
- Pan – Controls the position of the signal in the stereo field.
- Delay – Adjusts the delay time for the selected channel.
- Mono – Adjusts the send to the Mono Bus.
- Stereo – Sends the selected channel to the Stereo Bus.
- On – Turns the selected channel’s delay time on.
- Mono – Sends the selected channel to the Mono Bus.
Monitor
- Out Swap – Completely swaps the A and B Monitor Busses over meaning A becomes B and vice versa. For example, this allows you to hear a wedge monitor mix on the in-ear monitor bus if desired without having to re-patch.
- Talk Back – Allows the rear line level talkback input to be directly inputted into the Monitor A bus.
- Talk Back – Allows the rear line level talkback input to be directly inputted into the Monitor B bus.
- ST- Routes the stereo bus to the monitor A bus.
- ST- Routes the stereo bus to the monitor B bus.
- DIM A – Turns the level of the Monitor A bus down by 6 dB.
- DIM B – Turns the level of the Monitor B bus down by 6 dB.
- Mute – Mutes the Monitor A bus.
- Mute – Mutes the Monitor B bus.
- Monitor A Metering – Stereo 20 LED meters, -36 dB to 21 dB.
- Monitor B Metering – Stereo 20 LED meters, -36 dB to 21 dB.
- Monitor A Level – Level control. Maximum level 10 dB.
- Monitor B Level – Level control. Maximum level 10 dB.
- C/O – Sends the monitor A level control to the fader directly below for easy adjustment.
- C/O – Sends the monitor B level control to the fader directly below for easy adjustment.
Master
- Master Mute – Mutes the Master Stereo Bus.
- Mono Mute – Mutes the Mono Bus.
- Master Meters – Stereo 20 LED meters, -36 dB to 21 dB.
- Mono Meter – Stereo 20 LED meters, -36 dB to 21 dB.
- Master Stereo Bus Level – Level control. Maximum level 10 dB.
- Mono Bus Level – Level control. Maximum level 10 dB.
- C/O – Sends the Master Stereo Bus level control to the fader directly below for easy adjustment.
- C/O – Sends the Mono Bus level control to the fader directly below for easy adjustment.
Dimensions
References
Read User Manual Online (PDF format)
Read User Manual Online (PDF format) >>