Heritage 3000

live sound installation audio visual broadcast
"As for Heritage 3000, well, it's industry standard. All the top rental companies in the world have a fleet of Heritage 3000s in their warehouse, and we're no exception."

John Penn SSE

introduction
The right tool for the task makes life easier and more enjoyable. Which explains why the industrys leading sound engineers, if they havent already specified it, breathe a sigh of relief when they discover theyll be working on a Heritage 3000. The majority will already know the desk intimately after having performed on it countless times, yet for those who are new to the console, its intuitive design will soon put engineers at ease and enable them to be up and running quickly and efficiently. It is these live sound professionals that have made the Heritage 3000 the industry standard it is today. Whether its the sonic purity, which is at the heart of all Midas consoles, or the inherent flexibility there is simply no other desk in the world that can do what a Heritage 3000 can, hence the reason it has consistently remained the first choice across the globe. It excels in any application. Midas has the Heritage. For over 30 years Midas has been at the leading edge of live performance design and manufacture, so we know what works! The Heritage 3000 is an outstanding design using only the highest quality electronic components and mechanically, the frame is immensely tough. Audio professionals are safe in the knowledge that they are investing in a product that can be relied upon to do its job day in, day out to the very highest standard, most important for a desk in such constant demand. And on top of that, as after-sales support is of primary concern, you can access our unparalleled service anywhere in the world via our network of international distributors as well as direct from the factory in England. We will move heaven and earth to make sure that your show goes on! Industry standard status is no mean feat but the Heritage 3000 succeeds by delivering a package that other manufacturers fail to match. No other console in the world offers so much which must be why its the Worlds best selling large format console.
Mono Input Module The Mono Input module is a modular, fully featured mic or line channel strip incorporating the classic XL4 mic preamp, Midas 4-band parametric EQ with 24 adjustable, tri mode Group Mix controls together with an integral rear connector panel. Mic Preamp The mic preamp on the Heritage 3000 is something of which Midas is justifiably proud. Based on the classic XL4 preamp, what sets it apart from other manufacturers is the simple fact is that what goes into the console is exactly what comes out. Everything is balanced and referenced to the same signal level, be it 0dB, +4dB, +6dB etc. Where others are forced to compromise on gain versus bandwidth, the bandwidth on a Midas console remains constant regardless of gain. This is achieved through internal Current Feedback Topology and Passive Filtering eliminates all unwanted signal such as RF interference etc. This results in world-beating levels of Common Mode Rejection (CMR) and therefore matchless signal/noise ratios for virtually silent plug-and-play operation. Direct Output Each input features a balanced direct output with separate level control which can be sent either pre- or post insert and EQ (but always pre fader) via a front panel switch. Insert The fully balanced insert points are physically located on 2 jacks on the rear of the module and can be switched in/out and/or pre/post EQ from the front panel. EQ Section Another cornerstone of Midass reputation, the EQ section gives you an instant response, yet is never harsh even at extreme settings. Because it is so responsive, the user is always left with plenty of room for adjustments, which is very reassuring! Its also extremely precise and accurate. Midas EQ gives you exactly what it says it gives you. It is also extremely quiet. It doesnt add its own noise or any other unwanted effects and is still able to give you additional headroom over the rest of the console. The Heritage 3000 EQ is based on the industry leading XL4 4-band fully parametric variety Mix Sends In addition to acting as traditional potentiometers, each of the 24 colour coded input channel mix pots is also a 2kg push switch (which means there is little risk of them being switched unintentionally) with LED on/off indication. Individual pre/post fader switching is also provided. These potentiometers operate as buss assign on/off switches as well as conventional aux sends, adjusting the signal levels to the corresponding aux buses. The Group Master busses themselves (see the flexibility section) may be configured as mono aux masters, stereo aux masters or post pan audio sub groups. Master Buss Routing and Pan controls The ST and MONO switches connect the post fader channel signal to the Master stereo (via the pan control) and mono buss respectively. The Pan defaults to control the channel placement within a group or master stereo mix and has a constant power law. Spacial Image System (SIS) The SIS switch enables the spacial imaging system which operates in conjunction with the pan and image controls. It also acts as a left, centre, right master bus enable overriding any stereo and mono master bus assignments. When the spacial imaging system is active the IMAGE control can modify the action of the pan control so as to place the channel within a three speaker system. When the image control is fully clockwise the pan control will operate in full left, centre, right such that a centre panned signal will route to the centre speaker only and will not appear in either of the left or right outputs. When the image control is fully anti-clockwise the pan control reverts to stereo such that a centre panned signal will route at equal power to the left and right speakers. All other Image control positions generate a composite blend of the stereo and LCR panning systems so that the optimum degree of center image focus and speaker power can be obtained. When the image control and pan control are both set central the channel will be routed with equal power to all three speakers. Constant power is maintained at all times so that the image can be adjusted during the show without any perceived level change.

The Input fader is linked to an extremely flexible automation system. There are key status buttons and indicators adjacent to each fader to aid fast, intuitive use in a live performance situation. SAFE Swtiches MUTE removes the channel mute from snapshot automation and automute scenes FADER removes the channel fader from the virtual fader automation and VCA master fader control including VCA mutes AUTO - removes the channel from the snapshot automation system only; leaving the automutes, VCA masters and assignment systems active. STATUS LEDs Are used to show either the status of VCA and AUTOMUTE assignments as well as fader positions. (See automation section) VCA and AUTOMUTE Assignment Each channel can be assigned to any number of the 10 VCA subgroups and/or 10 Automute Groups using the MODE assignment panel (See automation section) and the SET switch. SOLO The SOLO switch sends the input channel signal to the PFL mono and AFL stereo busses. If the switch is pressed for a short time it will latch on or off, but if it is held on for more than 1 second the latching is disabled and when the switch is released the channel solo will turn off. As a default the solo system is auto cancelling so each new solo cancels the last. This function is time dependant which allows several solos to be active as long as they are switched on at approximately the same time. The SOLO ADD MODE switch on the MONITOR module defeats the auto cancelling and allows multiple channel monitoring. In this mode input solos have priority over outputs and will temporarily override any active output solos. The input solos also override any active VCA solos. If the console is connected to a Klark Teknik Helix EQ system and you press any solo key on the console, the EQ for that input or output is instantly displayed on the DN9340 Helix master unit ready for immediate control. All the EQ you will need - as fast as you need it.
Stereo Input Module Like the Mono Input module, the Stereo Input module is a modular, fully comprehensive mic/line channel strip incorporating the classic XL4 mic preamp and Midas 4-band semi-parametric EQ with 24 adjustable, tri mode Group Mix controls that operate as bus assign on/off switches and aux sends. The integral rear connection pan means that stereo modules can be positioned in any input position up to a maximum of 16 per console. The input gain and EQ control settings apply to both left and right signal paths and a balance control is provided to compensate for level errors from the mic/line source. Independent phase switches are provided for left and right inputs. The aux modes are similar to those provided on the mono channel, though when configured to mono, the signal is derived from a sum of the left and right channels. Like the mono version, the channel insert points may be switched pre- or post-EQ. A Mono button connects the post-fader channel signals to the Mono Master fader. Left and right pan controls are used for setting the stereo positioning of the two channels and a Stereo routing button connects the post-fader channel signals to the stereo bus via the pan controls. Mute The MUTE switch mutes the input channel at all points after the insert send. The switch can be controlled via the snapshot automation system and/or by automute scenes. Meter The METER monitors the peak signal level of the pre-fader input channel. Independent bar graph metering is provided for both signal path and independent pans allowing maximum intuitive placement across stereo mixes and master busses.

Stereo Input Rear Panel The input / output connectors are integral to the module metalwork for ease of removal. The mic or line input is on an XLR and four separate jacks provide a pre or post EQ (front panel switchable) balanced send and return for left and right channels.

[input modules]

Mono Input Rear Panel The input / output connectors are integral to the module metalwork for ease of removal. The mic or line input is on an XLR as is the Direct Output. Two separate jacks provide a pre or post EQ (front panel switchable) balanced send and return.

Meters

Direct Input
Feed from outputs to matrix (1-8)

Grand master VCAs

Group controls
No other console can match the flexibility of the Heritage 3000. Within seconds its outputs can be configured for the forthcoming task: be it front of house or monitors. The Heritage 3000 can do either without compromise. How many audio sub groups do you need? How many mono auxiliary sends? Are you using stereo in ear monitors? You can configure your outputs depending on the application. KRS (Key Routing Switch), located at the top of each group module is the key to the consoles flexibility, is tri-status and its status determines whether each pair of outputs are either: 2 audio subgroups, 2 mono aux sends or a KRS stereo aux send (with level/pan control from the corresponding mix send control on the input module). Off = 2 audio subgroups. When the mix output is designated as a subgroup the level of the corresponding aux pot on the input strip has no influence. The aux pot is purely a routing switch to the subgroup with LED indication (via the main pan). Red = 2 aux send masters. When the output is designated as 2 mono aux send masters, the level control function of the corresponding aux pot on the input strip is reactivated. Furthermore, there is still LED indication on the pot to show when an aux has been assigned to that output. Green = stereo aux send master. When the main routing switch is GREEN, the output is now acting as a stereo mix master, say, for in-ear monitoring or use as a stereo effect send. The corresponding aux pots on the input strip change their functionality to level and pan controls (RH pot = level LH pot = pan) independent from the main pan on the input strip.

[flexiility]

The Matrix The console incorporates a 27x8 Matrix section configured from the 24 mix sends plus the masters and mono outputs. Each send to the matrix from the groups can be pre- or post fader and/or pre- or post insert. Each matrix output can have VCA control from the stereo master fader if desired. Monitor Module The Heritage monitor module shows peak metering of the monitor signal, and allows pink noise, a sweepable tone or the talk back microphone to be routed to any selected output and or to an output XLR. The local output can be selected from the solo/pfl bus, master left and right, or an external feed, however, the solo/pfl signals will always override other signal sources when selected. This module gives the user the ability to phase reverse, left/right reverse and mute the left and right signals. A single fader provides overall control of all three local monitor outputs and a Solo Add mode allows multiple channels to be selected. The local output is also routed to the headphone socket via a separate gain control. Mono and Stereo Masters Peak metering of the full Left / Centre / Right outputs is provided. Direct inputs may be summed into the left and right buses for say console linking and these may be switched pre or post the master insert point. Each of the eight Matrix Master controls has Left/Right/Sum source switching and the matrix feeds may be switched pre or post the Master fader. This module also includes the Solo-in-Place function, talkback controls, overall control of the master stereo balance and single fader control over the stereo mix level. The master mute buttons are integrated into the snapshot automation system and theres a VCA link to allow the mono output level to track that of the stereo master fader. This allows a grand master level control for stereo, mono and matrix outputs.

The Heritage 3000 automation system provides flexible assistance with the mixing process. It is an essential part of the design that the automation can do as much or as little as is needed for a particular situation. Key features that require fast access have large dedicated buttons on the console surface, with menus only used for secondary and setup operations. In addition, a range of Lock options allow the power of the automation system to be limited to just the functions required for example preventing the storing of scenes or preventing both storing and recalling scenes. Reliability is of course paramount in a system of this type, and the Heritage automation computer is fully dual-redundant. Two separate microprocessors mirror all the data, and potential fault conditions are monitored constantly. press. Changeover between the two processors is accomplished with a single key

[routing]

Central to the automation is the ability to quickly create Auto-Mute and VCA control groups. This is achieved by pressing the appropriate mode switch (Mute or VCA), and then selecting one or more groups on the assign keys. The input channel set keys will now toggle each channel in and out of the selected groups. At all times the current assignments are displayed on the 10 status LEDs to the left of each fader.
A powerful part of the scene storage and recall is the fader automation. And, as always, there is a alternative for users who do not require it. Real fader mode, which is the default, allows fader positions to be stored per scene but not recalled - the physical faders are always controlling the audio levels, but the stored position is indicated on LEDs by the side of the fader.
Virtual Fader mode controls the audio directly from the automation system, although manual override is always available if needed by moving the fader past the current virtual level. In this mode the position of the fader is shown by the LEDs alongside the fader. Virtual Fader Recall mode is similar to Virtual Fader mode, but allows adjustment of recalled fader values to add a fixed offset for all snapshots or any part of the show as necessary. Additional flexibility is provided by a comprehensive safe system which allows particular features to be isolated from the automation system. Three separate safe keys allow input channels to be protected from Mute, Fader or all automation functions.

[automation]

Snapshots may be stored and recalled, including the following functions: Fader level and mute status for all channels Fader level and mute status for VCA masters Mute status for all mix, master and matrix outputs Auto-Mute assignments (but not masters) VCA assignments MIDI triggers and commands 440 snapshots are arranged as acts and scenes with each act containing up to 100 scenes. Navigation between snapshots is fast and intuitive using the up/down, next/last and now buttons. In addition, ten snapshots can be assigned to the fast scenes keys for instant access, and all snapshots can be recalled remotely by MIDI message. Comprehensive editing is included, allowing acts and scenes to be copied, inserted, or re-sequenced. A check mode is provided which allows easy viewing of all snapshot fader levels, mutes and control routing without making them active. Pressing now at any point will activate the viewed snapshot and take the console back out of check mode. If two or more Heritage consoles are linked, snapshot store and recall commands operate on all the consoles simultaneously and can be initiated from any console on the system. Due to Midas Consoles continual development programme updates to the automation software are available as downloads from Midass website www.midasconsoles.com.
There is no doubt in my mind that the success of this event as a world-wide television spectacle was significantly enhanced by the reliability and sonic quality of the Midas consoles
Steve Law, engineer & project manager Sydney Olympic Games

[lock diagrams]

The build quality, engineering and attention to detail on this console are just superb better than you could expect on something twice the price, and it had all the features I was looking for.
Mathieu Ninat, sound engineer and audio specifier Canal +

[extender]

The Heritage 3000 can be expanded up to a maximum of 64 channels by use of a 16 channel extender. The extender can be loaded with mono or stereo channels as required and once connected, it acts seemlessly with the main console. Audio bussing cables are supplied with the package as is the CAN buss cable which provides communication of scene automation, VCA and solo logic between the console and extender. Further more an extra power supply is supplied and when connected to the standard package, PSU redundancy is maintained.

"Quality and flexibility were our watchwords here, and fortunately Midas delivers the goods on both counts. The Heritage 3000 has been a godsend.
Lothar Strunk, Rock Sound. Expo
CAN Bus CAN was originally used as the communication device for engine management systems in the automotive industry. Due to its rugged and reliable nature it is the perfect system to allow Heritage and Legend consoles to communicate with each other. Any mixture of Heritage or Legend Series console may be linked in this manner. When linked, one console becomes the master and all the other linked consoles become slaves. Linked functions include all automation systems including scene recall and VCA and Solo logic.
MIDI Heritage 3000 allows you to fire four different MIDI messages per scene thus allowing you to control outboard devices with the MIDI standard. The console may also be configured to recall scenes triggered by MIDI messages. This is simply programmed via a menu in the automation section of the console.
RS-232 Heritage Utilities Software The Heritage Utilities software (available from www.midasconsoles.com) is Windows software that will allow you to download new operating code into the console. It will also allow you to down and upload memories to and from the console and store them as PC files. This software also handles the transfer of automation functions from one console to another or to an extender via the digital CAN bus on the rear of the console.

[features]

Helix system Helix, the revolutionary digital EQ device from Klark Teknik, offers the ability to link to all Midas consoles in the Heritage and Legend range via the auto-solo function. This means that when you press any solo key on the console, the EQ for that input or output is instantly displayed on the Helix master unit ready for immediate control. Naturally you have complete access to all the Helix functions allocated to that input or output. An RS-232 connection is supplied on the rear panel of Helix for this purpose, and up to 64 channels of Helix can be interconnected using standard microphone cables. Its all the EQ you will ever need, as fast as you need it.
Midas is the number one choice for the majority of sound engineers, it makes sense that it should be our number one choice too.
Fred Heuves, Ampco Pro Rent BV
Power supply unit The Heritage 3000 can be powered from a single Heritage Series auto ranging switched mode power supply. However due to Midas philosophy of delivering the complete package every console is supplied with two PSUs to allow for dual redundancy. When they are connected in parallel, using the supplied linking cables, the load is shared across each unit and if one of the power supplies fails, then the remaining unit will seamlessly and inaudibly take on the full load. The supplies have been designed to allow for flexible connectivity as full power can be taken from either the front or rear panel with the supplied 10-way output connector.

Packages The Heritage 3000 can be specified in a number of turnkey packages to suite your application. There is a touring package that consists of a Heritage 3000, two power supplies including the linking cables, Littlites, dust cover and flight case. The theatre package is similar to the touring package however a crate replaces the flight case and you will also get as standard a scriptslide. The bobtail package, designed specifically for the US market, consists of a 48 channel Heritage minus the handles and with ultra thin side cheeks and a specially designed flight case suitable for a 90inch wide bobtail truck.
Lighting We have even paid special attention to the storage of the Littlites. Two catches under the rear of the console or extender lid allow access to the Littlites and the two dimmer controls: one for the brightness of all LEDs on the console, the other for the Littlites themselves.
Warranty When you purchase a Heritage 3000, or in fact any Midas console, you will get an extra peace of mind with yet another industry first a 3 year warranty to guard against any possible problems arising from the desk or power supplies.
Scriptslide An extremely useful tool is the script slide which is included as standard in the theatre package and as an option in the touring package. Very simply the script slide provides somewhere visible and handy for engineers to put their scripts, pens, mobile phones or any of the other things that typically clutter up the control surface. As the script slide is designed to be moveable it is always out of harms way, yet still within easy reach. It means that finally engineers can keep their work environments tidy yet still have access to the tools they need.

[options]

Easy Tilt A collective sigh of relief went up from roadies and crew the world over when Midas came up with this revolutionary device for getting the heaviest mixing console from vertical to the horizontal working position and back to vertical again with just two people. Easy Tilt is the definitive solution to handling the weight of traditional analogue mixing consoles that are built to last without incurring excessive bills from the osteopath. This clever device, available in two heights either 28 or 26.5, not only gets the console into position quickly and easily, but also provides a secure working platform for the console while it is in use, and then just as easily puts the console back onto its wheels in the flight case when the show is over. And all it takes is just two people. In case you were wondering where you might store this handy item to stop it from getting lost or damaged, weve come up with a solution as an optional extra quite simply a Heritage 3000 touring flight case that has a built-in compartment for the Easy Tilt. Apart from taking care of storage solutions, it also means that the Easy Tilt is always on hand when you need it, and not languishing in the back of a truck somewhere when you need to load in or out in a hurry.

Most of all, when I go on tour, I never have to worry about the reliability of the desk. Its as solid as a rock, and that is worth a great deal.
Christophe Genix, monitor engineer, Indochine

Dim B Dim A 12.00

189.00mm (7.44)

1054.00mm (41.49)

363.00mm (14.29)
24 Channel Frame Dim A=1484.00mm (58.420") 32 Channel Frame Dim A=1756.00mm (69.130") 40 Channel Frame Dim A=2012.00mm (79.210") 48 Channel Frame Dim A=2268.00mm (89.290") 48 Channel Bobtail Frame Dim A=2138.00mm (84.17") 56 Channel Frame Dim A=2559.00mm (100.740") 64 Channel Frame Dim A=2815.00mm (110.820") 16 Channel Extender Dim A=700.00mm (27.550") Dim B=657.00mm (25.860") Weight* 140kg (308.6lbs) * Weight out of flightcase. Dim B=2772.00mm (109.130") Weight* 260kg (573.2lbs) Dim B=2516.00mm (99.050") Weight* 253kg (564.4lbs) Dim B=N/A Weight* 205kg (415.0lbs) Dim B=2225.00mm (87.590") Weight* 215kg (473.9lbs) Dim B=1969.00mm (77.510") Weight* 188kg (414.5lbs) Dim B=1713.00mm (67.440") Weight* 1465kg (363.8lbs) Dim B=1441.00mm (56.730") Weight* 140kg (308.6lbs)

[frame sizes]

[hEritage 3000 performance]
Input Impedance Mic Line Input Gain (all faders at 0dB) Mic Mic + Pad Line Level Inputs Maximum Input Level Mic Mic + Pad Line Level Inputs CMR at 100kHz Mic (gain + 40dB) Mic + Pad (gain 0dB) CMR at 1kHz Mic (gain + 40dB) Mic + Pad (gain 0dB) Line Frequency Response (20 to 20kHz) Mic to Mix (gain + 60dB) 2K Balanced 20K Balanced Continuously variable from + 15dB to + 60dB Continuously variable from +0dB to + 35dB 0dB + 6dBu + 31dBu + 21dBu Typ 115dB Typ 80dB >100dB >60dB >50dB + 0dB to - 1dB

Noise (20 to 20kHz)

Mic EIN ref.150 Ohms (gain + 60dB)

-128dBu

System Noise (20 to 20kHz)
Summing Noise (48 channels routed with faders down) Line to Mix Noise (48 channels routed at 0dB, pan centre)

- 80dB

Distortion at 1kHz Crosstalk at 1kHz
Mic to Mix (+ 60dB gain, 0dBu output) Channel to Channel Mix to Mix Channel to Mix Maximum Fader attenuation
<0.03% <-90dB <-90dB <-90dB > 80dB 50 Ohms Balanced Source to drive > 600 Ohms To drive > 8 Ohms + 21dBu + 21dBu -60dBu to + 10dBu 0dBu + 10dBu

Output Impedance

All Line Outputs Headphones

Maximum Output Level

Nominal Signal Level

Mic Line Headphones

Equaliser Hi Pass Slope Hi Pass Freq. Treble Gain Treble Shelving Freq. Treble Bell Freq. Treble Bell Bandwidth Hi Mid Gain Hi Mid Freq. Hi Mid Bandwidth Lo Mid Gain Lo Mid Freq Lo Mid Bandwidth Bass Gain Bass Shelving Freq Bass Bell Freq Bass Bell Bandwidth 12dB / Oct. Continuously variable Continuously variable Continuously variable Continuously variable Continuously variable Continuously variable Continuously variable Continuously variable Continuously variable Continuously variable Continuously variable Continuously variable Continuously variable Continuously variable Continuously variable - 3dB point from 20Hz to 400Hz + 15dB to -15dB Centre detent = 0dB - 3dB point from 1k to 20k centre from 1k to 20k 0.1 Oct. to 2 Oct. Centre detent = 0.5 Oct. + 15dB to -15dB Centre detent = 0dB centre from 400Hz to 8k 0.1 Oct. to 2 Oct. Centre detent = 0.5 Oct. + 15dB to - 15dB Centre detent = 0dB centre from 100Hz to 2k 0.1 Oct. to 2 Oct Centre detent = 0.5 Oct. + 15dB to - 15dB Centre detent = 0dB - 3dB point from 20Hz to 400Hz centre from 20Hz to 400Hz 0.1 Oct. to 2 Oct Centre detent = 0.5 Oct

Heritage PSU

Input voltage range Maximum Output power Operating Temperature Nominal rails
100-240VAC 750W 0-40C +18V, -18V, +48V.
[hEritage 3000 statistics]
The Heritage 3000 is a 30 buss console with an additional 27 x 8 output matrix. The busses are 24 stereo or mono configurable groups =stereo master =mono master=stereo AFL=mono PFL=1 TOTAL= automute sub groups and 10 VCA sub groups which include VCA sub group muting. 52 input channels plus an additional 26 direct inputs on the group and master modules. A total XLR input count of 95 are 52 channel mic inputs 24 group direct inputs 8 matrix bus inject inputs 3 solo bus inject inputs 2 master direct inputs 2 external inputs (2 track return) 1 master bus inject 1 talk mic input 1 talk external input 1 test bus input A total XLR output count of 89. These are 44 input channel direct outputs 24 audio group outputs 8 matrix outputs 3 master outputs 3 solo outputs 6 local outputs 1 talk external output A total of 180 balanced 1/4 inch jacks for inserts. These are 52 input channel insert sends 52 input channel insert returns 24 audio group insert sends 24 audio group insert returns 8 matrix insert sends 8 matrix insert returns 3 master insert sends 3 master insert returns 3 local insert returns 58 long throw faders for mix control with fader position recall and virtual fader functions. 1043 automated switch functions. These are 480 input channel VCA sub group virtual assign switches 480 input channel mute sub group virtual assign switches 48 input channel mute switches 24 audio sub group mute switches 8 matrix mute switches 3 master mute switches A total of 89 peak program meters with 20 LED segments on all outputs and 11 LED segments on input channels.
Flight Case Dimensions (48 Channel) Width 2370 mm Width 93.3 inches Bob Tail Case Dimensions Width 2240 mm Width 88.19 inches Height 1540 mm Depth 480 mm Height 60.63 inches Depth 18.90 inches Height 1540 mm Depth 480 mm Height 60.63 inches Depth 18.90 inches
Heritage PSU Measurements
Width Height Depth Weight
482.6 mm 130 mm 385 mm 11.0kg
19 inches 5.18 inches 15.16 inches 24.25lb
Centre section connectors

Right rear connectors

* Due to a policy of continual improvement Midas reserves the right to alter the specification and performance at any time without prior notification.
The evolution of Midas consoles throughout the 30-year history of this classic marque has always paralleled, and often led, increasingly sophisticated audio innovations for the world-wide entertainment technology industry. Raising the standards of sonic quality through continual research and development has always been - and still remains - our overall aim. Equally important to us is the design and implementation of many new areas of control functionality and user-friendly desk operation to anticipate and accommodate the rapidly changing and expanding needs of audio professionals who specify Midas consoles for their major tours, festivals, international events, broadcast projects and prestigious fixed installations. The Midas design pedigree has, since our birth, been founded upon a track record of achieving a unique symbiosis with working sound engineers around the planet - engineers who respect and endorse our proven technology in the light of their responsibilities to their internationally-based clients who are themselves the leading lights of our industry.
Klark Teknik Group, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ. England. Tel: +741515 Fax: +745371 email: sales@ktgplc.com www.midasconsoles.com
designed and printed in england by Veldonn Printers Limited tel: +68477 fax: +829026 email: sales@veldonn.co.uk web: www.veldonn.co.uk
Midas has been designing and manufacturing live performance mixing consoles for the worlds most demanding sound engineers, performers and production rental companies since the early 1970s.

freq INS PRE EQ

The lo mid FREQ control gives continuous adjustment of the frequency range that the lo mid equaliser acts on from 100Hz to 2k. The bass BELL switch converts the bass equaliser from traditional MIDAS shelving response to full parametric operation. The bass FREQ control gives continuous adjustment of the frequency range that the bass equaliser acts on from 20Hz to 400Hz. The HI PASS switch connects the filter in the input channel signal path before the insert point and equaliser.
The LO MID (dual concentric top) control gives continuous adjustment of boost and cut from + 15dB to - 15dB with a 0dB centre detent. The lo mid WIDTH (dual concentric bottom) control gives continuous adjustment of bandwidth from 0.1 to 2 octaves with a 0.5 octave centre detent. The BASS (dual concentric top) control gives continuous adjustment of boost and cut from + 15dB to - 15dB with a 0dB centre detent.

freq Q bell

The bass WIDTH (dual concentric bottom) control gives continuous adjustment of bandwidth from 0.1 to 2 octaves with a 0.5 octave centre detent. This only operates when the BELL switch is activated. The HI PASS filter control is continuously adjustable from 20Hz to 400Hz.

20 freq 400

1 PRE 2 PRE

3 PRE 4 PRE

5 PRE 6 PRE
The configurable group MIX controls (1 to 24) have two functions:i. They operate as bus assign ON/OFF switches by way of a non latching push/push action with LED status indication. ii. They adjust the levels sent from the input channel to the group busses when in one of the AUX bus modes. The group mix busses can be configured in three modes:- MONO AUX, STEREO AUX or POST PAN GROUP. This is controlled on a bus by bus basis by the global BUS MODE switches on the GROUP modules. When configured as mono auxes the left and right controls give independent level adjustments from + 6dB to off. When configured as stereo auxes the left controls perform a pan function with a constant power (- 3dB) law while the right controls give continuous level adjustment from + 6dB to off. When configured as stereo groups the level control functions are disabled such that any assigned busses are sent at unity gain from the channel post fader, post pan signals.
The aux PRE switches only operate when in one of the AUX bus modes; they change the signals sent to the group busses from post fader to pre fader. When configured as stereo auxes only the right switches are active.

7 PRE 8 PRE

11 PRE 12 PRE

13 PRE 14 PRE

15 PRE 16 PRE

17 PRE 18 PRE

19 PRE 20 PRE

21 PRE 22 PRE

23 PRE 24 PRE
The PAN defaults to control the channel placement within a group or master stereo mix and has a constant power law i.e. - 3dB at the centre position. The SIS switch enables the spacial imaging system which operates in conjunction with the pan and image controls. It also acts as a left, centre, right master bus enable overriding any stereo and mono master bus assignments. When the spacial imaging system is active the IMAGE control can modify the action of the pan control so as to place the channel within a three speaker system. When the image control is fully clockwise the pan control will operate in full left, centre, right such that a centre panned signal will route to the centre speaker only and will not appear in either of the left or right outputs. When the image control is fully anti-clockwise the pan control reverts to stereo such that a centre panned signal will route at equal power to the left and right speakers. All other Image control positions generate a composite blend of the stereo and LCR panning systems so that the optimum degree of center image focus and speaker power can be obtained. When the image control and pan control are both set central the channel will be routed with equal power to all three speakers. Constant power is maintained at all times so that the image can be adjusted during the show without any perceived level change.
The ST switch connects the post fader channel signal to the master stereo bus via the pan control.
The MONO switch connects the post fader channel signal to the mono master bus. The METER monitors the peak signal level of the pre fader input channel.
The MUTE switch mutes the input channel at all points after the insert send. The switch can be controlled from snapshot automation and by automute scenes.

MIDAS HS0003 Input Fader

MUTE FDR AUTO

MUTE FDR

SET 1 2

HS0003

The SAFE switches disable remote control of the channels as follows:i. The MUTE SAFE removes the channel mute from the snapshot automation and automute scenes. ii. The FADER SAFE removes the channel fader from the virtual fader automation and VCA master fader control including vca mutes. iii. The AUTO SAFE removes the channel from the snapshot automation system only; leaving the automutes, VCA masters and assignment systems active. The SET switch is used to programme the channel automute and VCA master assignment. The central controller MODE and ASSIGN keys select the desired automute or VCA group and the SET switch will toggle the channel on and off with each alternate press.
The SOLO switch sends the input channel signal to the PFL mono and AFL stereo busses. If the switch is pressed for a short time it will latch on or off, but if it is held on for more than 1 second the latching is disabled and when the switch is released the channel solo will turn off. As a default the solo system is auto cancelling so each new solo cancels the last. This function is time dependant which allows several solos to be active as long as they are switched on at approximately the same time. The SOLO ADD MODE switch on the MONITOR module defeats the auto cancelling and allows multiple channel monitoring. In this mode input solos have priority over outputs and will temporarily override any active output solos. The input solos also override any active VCA solos.

The FADER gives continuous adjustment of the input channel level from + 10dB to off.
The STATUS leds are used to show fader positions and the status of VCA and MUTE group assignments. The central controller MODE switches toggle through the four available states:- VCA group assignment, MUTE group assignment, FADER position manual recall and null, and full automated VIRTUAL FADER RECALL.
FADER MANUAL RECALL AND NULL In this mode, the STATUS LEDs are used to prompt the operator where to move the fader. If the fader is not at the position stored in the current recalled snap shot, one/two LEDs will flash to indicate where the fader should be. A single flashing LED indicates that the fader should positioned next to that LED, if two LEDs are flashing the fader should be between the two LEDs. As the fader is moved closer to the required position the LED(s) will stop flashing and will be replaced by a single continuously lit LED. Once the fader is at the correct position all LEDs will extinguish.
FADER POSITION CHECK When a scene's contents are being "checked" (see automation operation) the STATUS LEDs will indicate the fader position stored in the scene by continuously illuminating one or two LEDs as appropriate. VIRTUAL FADER RECALL When in VIRTUAL FADER mode (see automation operation) the automation system will generate a "virtual" fader, set to the level of the input fader at the time the snap shot was stored. The level of the virtual fader is added to the level of the physical input fader. In this mode the STATUS LEDs indicate the "position" of the virtual fader by illuminating a bar of LEDs starting at - .

48V PAD O O

balance
MIDAS HS0004 Stereo Input Module

HS0004

The 48V switch connects 48 volt phantom power to both input connectors and is suitable for condenser microphones or DI boxes. The PAD switch gives 25dB of attenuation in both input signals to allow the connection of high output microphones or line level signals. If the input amplifiers are transformer coupled (option) the pad greatly reduces the risk of saturation at very low frequencies.

48V +25 PAD O O

5k +15
The GAIN control gives continuous adjustment of the input amplifier gains from + 15dB to + 60dB.
The PHASE switches activate a 180 degree phase change within the input amplifiers. The upper switch acts on the left channel and the lower switch acts on right channel. The treble FREQ control gives continuous adjustment of the frequency range that the treble equalisers act on from 1k to 20k. The treble BELL switch converts the treble equalisers from traditional MIDAS shelving response to bell filters with a 1.5 octave bandwidth. The hi mid FREQ control gives continuous adjustment of the frequency range that the hi mid equalisers act on from 400Hz to 8k. The INS switch connects the left and right input insert return signals to the input channel. The insert PRE switch arranges the input channel signals to pass through the insert points before the equalisers when activated and after the insert points when not activated. The EQ switch connects the left and right equalisers into the input channel signal paths.
The BALANCE control gives continuous and reciprocal adjustment of the stereo left and right signal levels by +10dB to -10dB. This allows fine adjustment of the left and right signal levels and imaging.
The TREBLE control gives continuous adjustment of left and right boost and cut from +15dB to -15dB with a 0dB centre detent.
The hi mid HI Q control changes the bandwidth of the hi mid equalisers from 1.5 octave to 0.5 octave.
The HI MID control gives continuous adjustment of left and right boost and cut from +15dB to -15dB with a 0dB centre detent.
The lo mid FREQ control gives continuous adjustment of the frequency range that the lo mid equalisers act on from 100Hz to 2k.
The LO MID control gives continuous adjustment of left and right boost and cut from +15dB to -15dB with a 0dB centre detent.

2k 0 15

freq hi Q
The bass BELL switch converts the bass equalisers from traditional MIDAS shelving response to bell filters with a 1.5 octave bandwidth. The bass FREQ control gives continuous adjustment of the frequency range that the bass equalisers act on from 20Hz to 400Hz. The HI PASS switch connects the filters in the input channel signal path before the insert points.
The lo mid HI Q control changes the bandwidth of the lo mid equalisers from 1.5 octave to 0.5 octave.

+21+ +18+ +15+ +12+ +9+ +6+ +3+ 0 -3-6-9-12-15-18-21-24-27-30-33-36-

green = stereo aux

red = mono aux direct inputs 0 0

+10 +10

MIDAS HS0011 Group Module

PRE insert MUTE SOLO

matrix

PRE fader PRE insert 9

to masters

ST MONO

TALK INS

mute mute

SAFE SOLO split SAFE

MIDAS HS0011

The METERS monitor the peak signal levels of the sub group outputs (post fader).
The direct SOLO switches send direct input to the PFL mono and AFL stereo busses (AFL is selected as stereo or mono depending on the group SPLIT switch settings). If a SOLO switch is pressed for a short time it will latch on or off, but, if it is held on for more than 1 second the latching is disabled and when the switch is released the solo will turn off. As a default the solo system is auto cancelling so each new solo cancels the last. This function is time dependant which allows several solos to be active as long as they are switched on at approximately the same time, i.e. to solo both sides of a stereo mix press both solo switches at the same time. Alternatively the SOLO ADD MODE switch on the MONITOR module can be used to defeat the auto cancelling and allow multiple channel monitoring. In this mode input channel solos have priority over all other solos and will temporarily override them.
The global BUS MODE switches configure input module MIX controls to act as either mono aux (level and level), stereo aux (level and pan) or as audio sub groups (post fader and main pan). This makes the console extremely flexible and quick to reconfigure. The DIRECT input controls give continuous adjustment of the direct input levels from + 10dB to off. The direct signals are summed into the sub group signals and can be used as effects returns etc. or for console bus linking. The direct PRE switches move the point at which the direct signals are summed into the sub groups. The default is post insert but when the PRE switches are active the signals are summed at the sub group mix busses. The direct MUTE switches mute the sub group direct inputs at all points.
The matrix MIX controls (1 to 8) give continuous adjustment of the sub group levels sent to the matrix mixes from + 6dB to off.
The PRE insert switches change the signals sent to the matrix mixes from post group insert to pre group insert and override the pre fader switches. It is important to note that pre insert matrix sends are also pre the group mutes.

The vca SOLO switches are used to monitor the VCA master faders by creating a mix on the solo busses which consists of all input channels and audio sub groups which are assigned to control from the corresponding VCA masters. If a VCA solo switch is pressed for a short time it will latch on or off, but if it is held on for more than 1 second the latching is disabled and when the switch is released the solo will turn off. When the console is operating in SOLO ADD MODE input channels have priority over VCA solos and will temporarily override them.
The STATUS LEDs are off when the console is in VCA or mute assignment modes (see assignment operation). When the console is in FADER mode indication the STATUS LED's can indicate one of three states: FADER MANUAL RECALL AND NULL In this mode, the STATUS LEDs are used to prompt the operator where to move the fader. If the fader is not at the position stored in the current recalled snap shot, one/two LEDs will flash to indicate where the fader should be. A single flashing LED indicates that the fader should positioned next to that LED, if two LEDs are flashing the fader should be between the two LEDs. As the fader is moved closer to the required position the LED(s) will stop flashing and will be replaced by a single continuously lit LED. Once the fader is at the correct position all LEDs will extinguish. FADER POSITION CHECK When a scene's contents are being "checked" (see automation operation) the STATUS LEDs will indicate the fader position stored in the scene by continuously illuminating one or two LEDs as appropriate.
VIRTUAL FADER RECALL When in VIRTUAL FADER mode (see automation operation) the automation system will generate a "virtual" fader, set to the level of the input fader at the time the snap shot was stored. The level of the virtual fader is added to the level of the physical input fader. In this mode the STATUS LEDs indicate the "position" of the virtual fader by illuminating a bar of LEDs starting at - .
+21+ +18+ +15+ +12+ +9+ +6+ +3+ 0 -3-6-9-12-15-18-21-24-27-30-33-36+21+ +18+ +15+ +12+ +9+ +6+ +3+ 0 -3-6-9-12-15-18-21-24-27-30-33-36-

s o l o i n

p l a c e

direct inputs 0 0

MIDAS HS0021 Masters Module
PRE insert MUTE SOLO left sum right left sum right left sum right left sum right left sum right left sum right left sum right left sum right
mono PRE fader PRE insert

mono (centre)

TALK INST
ST VCA link to to mono mono

masters

MIDAS HS0021
The METERS monitor the peak signal levels of the three master outputs (post fader).

Fader Automation System

The fader automation operates in two main ways:REAL FADER MODE and VIRTUAL FADER MODE. In REAL FADER MODE all of the internal VCA systems are controlled by the real (physical) faders. The automation system can assist in the control of the real faders by prompting the operator using the 11 LED's next to each fader. If the console is un-locked to RECALL level or higher the operator can view the fader positions required for a given snapshot by recalling the scene and pressing the FADER MODE switch. The LED's will flash to display the approximate position that the fader should be set to and they will extinguish when the fader has been moved to the correct position. When the faders are close to the correct position the LED's will change to give "up" "down" indication either side of the required fader positions. If the console is un-locked to STORE level or higher operator can recall scenes as above and can also store and overstore. When a store is made the fader position stored will always be the actual current position of the real fader.
In VIRTUAL FADER MODE the console automation takes control of all internal VCA systems and displays a representation of the virtual fader position using the 11 LED's next to each fader. Additional adjustment trims can be added if required using the real faders. The virtual fader system works in distinctly different ways depending on the lock status:If the console is un-locked to RECALL level or higher scenes can be recalled but not stored or overstored. If fader adjustments are required they are started by fader "pick up" at the "0dB position". Fader adjustments then remain active for all subsequent scenes recalled (unless the adjustment is "cleared"). If the console is un-locked to STORE level or higher scenes can be stored, recalled and overstored. When a store is made the fader position stored will always be the virtual fader position regardless of the real fader. If fader adjustments are required they are started by fader "pick up" at the current virtual fader position. As soon as a new scene is recalled by the automation the fader adjustment is removed forcing the operator to "pick up" again before making further adjustments.

Any virtual fader can be isolated from further scene recall by pressing the AUTOmation SAFE switch. After the switch is pressed it will also be possible to pick up the virtual fader at the recalled position and adjust it using the real fader (exactly the same as for store mode). Any subsequent scene recall will have no effect on the virtual fader position.
Any virtual fader can be isolated from further scene recall by pressing the AUTOmation SAFE switch. After the switch is pressed it will also be possible to pick up the virtual fader at the recalled position and adjust it using the real fader. Any subsequent scene recall will have no effect on the virtual fader position.
To regain virtual fader control switch the AUTOmation SAFE switch off and then recall the current (or next required) scene. Virtual fader control will resume as the scene is recalled. The fader will not be picked up and can be moved to -infin if desired as long as it does not pass through 0dB. If it does pass through 0dB it will pick up in the normal way.
To regain virtual fader control switch the AUTOmation SAFE switch off and then recall the current (or next required) scene. Virtual fader control will resume as the scene is recalled. The fader will not be picked up and can be moved to -infin if desired as long as it does not pass through the virtual fader position. If it does it will pick up in the normal way.
Any input channel virtual fader can be totally isolated by pressing the FADER SAFE switch. At this point the virtual fader will "snap" to match the real fader position and any master VCA and automation control will be removed. To regain virtual fader control switch the fader safe off and recall a new scene. The real fader can then be cleared to -infin in the normal way.
It is not possible to store a scene in this mode. The main reason this is not allowed is because multiple overstores of faders which have adjustments made would result in incremental virtual fader position changes which in most cases would not be desired.
When storing a scene the information loaded into the scene memory will always be as displayed by the leds. This still applies if a fader is isolated by the fader safe or automation safe switches.
As you can see from the previous two pages there are many different ways to control faders within the console. There is no right or wrong way and the best method will depend largely on the specific application and the user preference. It is quite likely that the method chosen will change with time as the user gains more confidence in the system the performance becomes more regular and rehearsed. The following recommendations are intended as a guide only:1. REAL FADER STORE AND RECALL MODES Used for initial set up of a show and during early rehearsals. Also used for situations where no prior setup has been possible. Fader positions stored to the automation memory are as per the real faders so great care must be taken to set them correctly prior to overstoring any adjustments. 2. VIRTUAL FADER STORE MODE Used for later rehearsals and for shows where there is a large degree of change from night to night due to venue conditions or add lib's etc. Each scene recalled is as it was stored but may need adjustment to suit the prevailing conditions. Adjustments are clear and fast to implement with the real fader taking over from the virtual fader as required. Overstoring is easily possible so as to fine tune the data stored in the automation memory. 3. VIRTUAL FADER RECALL MODE Used for events and shows that are well rehearsed and predictable. Each scene recalled is as it was stored plus an offset adjustment from the real fader if required. Any adjustments that are made are active for all subsequent scenes until such time as they are removed by the operator. Overstoring is not possible.

Heritage Menu Overview

(Key Menu Button SYSTEM MENU this symbol denotes a CONFIRM button press ) Menu 1st Level LOCK Menu 2nd Level TOTL A-LK RCAL STOR SYST TIME LOAD SAVE All automation and assignment functions are disabled. Only Assignment functions are available Only recall and assignment functions are available. Scene storage, editing, recall and assignment operation available. All Functions are available. Enables and Disables Automatic Mode Lock Function SERIAL MIDI SERIAL MIDI YES NO Chnn

ENAB SET_ P

NOFF N ON SNGP PRCH

NONE SLAVE MAST

No consoles connected Console configured as a slave console Console configured as a Master Console
This clears all scene information on the console to give a clean starting point for programming MIDI Out Message 1 MIDI Out Message 2 MIDI Out Message 3 MIDI Out Message 4

OUT1 OUT2 OUT3 OUT4

MIDI Out Sub Menus: ( denotes a number ) OUT CLR N_ON N_OFF PROG
Ch (MIDI Channel) Ch (MIDI Channel) Ch (MIDI Channel)

(Note) (Note)

V (Note Velocity) V (Note Velocity)
P (Program Change Number)
Store Menu If storing new scene When storing a new scene there are no options available, the scene will be stored with the fastest cross fade speed and the display will revert back to default. Store Menu When Overstoring When Overstoring an existing scene the following options are available. OVERSTORE OVR/STOR XFADE PRCH The scene is over stored and display reverts back to scene number The cross fade speed can be set from 0.1 to 100 seconds Allows selection of the Program change the scene will respond to between NONE, 000 to 127 ,when MIDI In Program changes are enabled.
Unlocking the Console: To unlock the mixing console press the SYSTEM menu button. Using the up/down keys scroll through the menu until LOCK is displayed, press CONFIRM. Using the up/down keys scroll through the menu until the desired level of unlock is displayed on the screen, then press the confirm button.
Locking the Console: To lock the mixing console press the SYSTEM menu button. Using the up/down keys scroll through the menu until LOCK is displayed, press CONFIRM. Using the up/down keys scroll through the menu until TOTL is displayed on the screen, then press the CONFIRM button. The LOCK button located on the MODE SWITCHES disables the Assign keys, Mode switches and Set switches on the Centre section and input faders.

Storing a Scene Cont. Selecting a memory number and storing the memory: a/ The numbers in the display can be altered as follows. Select either Act or Scene using the ACT/SCENE C/O switch. You will see either act or scene illuminate below the display. b/ The digits can then be altered between 00-99 using the UP and DOWN keys. This function is looping so if you are on 00 you can go directly to 99 by scrolling down. c/ To store a scene press STORE in the scene is new then it will just be stored and the screen will display done. If the scene already exists then the display will read over_str and you will need to press the confirm button. The screen will then read done. Editing Midi (Program Change): a/ Pressing the MIDI button places you in the MIDI menu. b/ Using the UP and DOWN buttons scroll through OUT01 to 04 until the required message is reached. (On the Heritage there are a maximum of 4 MIDI out messages that can be sent per recalled scene). Press CONFIRM. c/ Using the UP and DOWN buttons scroll through the menu until the screen reads PROG. Press the CONFIRM button d/ The window will read CH00, using the UP and DOWN keys a channel between 01 to 16 can be selected. Press CONFIRM. e/ The window P000, using the UP and DOWN keys a program, change between 00 and 127 can be selected. Press confirm and you will be dropped back to the first level of the menu. When the desired messages have been edited press the MIDI button again to drop out of the menu. f/ To then store the MIDI information with the scene the STORE button must be pressed followed by CONFIRM Assignment of Program changes to a Scene: a/ Once a scene has been stored press the STORE button so that the display reads OVER/STOR. b/ Press the UP key until the display reads PRCH then press CONFIRM. c/ Using the UP or DOWN key chose the required MIDI program change you wish the scene to be recalled by. You have the choices NONE, Program Changes 000-127. Inserting Scenes: a/ Once you have created the scene you wish to insert edit the act/scene number display using the ACT/SCENE, UP and DOWN buttons until the desired position is displayed. b/ Press the INSERT switch. The screen will then display done. The original scene and any scene preceding it will then be incremented by one position. NB The INSERT button will only be illuminated if a scene exists where you wish to place the scene, otherwise STORE may be used as normal. Copying Scenes: a/ Recall the scene you wish to copy by selecting the scene number and pressing the NOW button. b/ Press the COPY button. c/ The MIDI Button will be illuminated as default which indicates that the midi out messages will also be copied with the scene. If you do not wish the midi out information to be copied to the new scene press the MIDI button so that the light is extinguished. d/ The act/scene numbers can now be scrolled through using the ACT/SCENE,UP and DOWN buttons until the desired position is reached, then press the STORE button.

Editing the Cross fade Value of a Scene: a/ Recall the scene you wish to copy by selecting the scene number and pressing the NOW button. b/ Press the STORE button, and using the UP and DOWN buttons scroll through the display until XFADE is shown, press CONFIRM. c/ The current cross fade speed stored with the screen will be displayed. Using the UP and DOWN buttons select the required cross fade speed. d/ Press CONFIRM to store this new speed with the scene. NB When a scene with a cross fade speed is being recalled the display will flash for the specified cross fade time Halting a Cross fade: To Pause a crossfade during recall press the CANCEL button. The crossfade can be resumed again by pressing the CONFIRM button. Bypassing a Cross fade: A crossfade can be bypassed by pressing the confirm button as the crossfade is being applied, this will immediately take you to the finished scene. Previewing a Scene: To preview a scene without effecting your mix select the scene number on the display using the ACT/SCENE, UP and DOWN buttons. Once the desired number is displayed using the CHECK button the automated switch configuration and fader positions stored for that scene can be viewed without changing the actual settings. The Automute Safe buttons on the inputs will display the input mute state. The master VCA mutes will display the Master VCA mute setting with out altering the Audio. The Group and Matrix Mute Safe buttons will display the checked scene mute status. The display will also scroll through the other stored scene information, telling you if midi in is enabled and the channel assigned. The MIDI out information stored with the scene, cross fade value and program change number the scene will respond to. Pressing the CHECK button will drop you back into normal mode. Recalling Scenes: There are 3 methods by which scenes can be recalled: a/ Stepping through existing scenes using the LAST and NEXT buttons. This steps through the scenes in numerical order. b/ Select the act/scene number using the ACT/SCENE, UP and DOWN buttons, when the correct scene number is displayed in the screen press the NOW button and the scene will be recalled. c/ A scene can be assigned to a fast scene key (1-10). In this instance the scene is recalled by just pushing the fast scene key. Assigning A Scene To A Fast Scene Key: a/ Recall the scene you wish to assign to a FAST SCENE KEY. b/ Press the COPY button, followed by the FAST SCENE KEY button you wish to assign that ACT/SCENE to. The screen will then display done. Deleting a Scene From A Fast Key: a/ Press and hold down the FAST KEY you want to delete. b/ When the YES and NO button start to flash you can now select either YES or NO to delete or cancel deletion of the FAST KEY. Deleting A Scene: Recall the scene you wish to delete, Or display the scene number on the screen using the ACT/SCENE, UP and DOWN buttons. When this is done press the DELETE button. You will be asked to confirm this. Press the CONFIRM button the screen will then say done when the scene is deleted.

MASTERS SUM MONO MONO VCA O/P

TALK INST MUTE

+ INSERT POINT SEND

MASTER O/P MONO

to mono

VCA link to mono

LEFT DIRECT LEFT BUS NOISE BUS
MUTE + INSERT POINT SEND TALK INST +

MASTER O/P LEFT

MASTER VCA O/P + MASTER O/P RIGHT

RIGHT BUS RIGHT DIRECT

l r balance direct input

MUTE PRE insert

+ INSERT POINT TALK SEND
AUTOMATION SIP O/P SOLO LOGIC SOLO LEFT SOLO RIGHT PFL

PREVIEW MUTE AUTOMATION

TALK input TALK EXTERNAL
A/B SPEAKERS SOLO to mono + INSERT POINT

MONO masters

MONO SUM

(HALF NORMALISED)

SEND REVERSE PHASE O SOLO to stereo

A/B SPEAKERS

MONO O/P LEFT A' MONO O/P LEFT 'B'

COMMS LEVEL

SOLO BUS LEFT SOLO INJECT LEFT SOLO BUS RIGHT

MONO L TO BOTH MONO L

C/O MUTE +

INSERT POINT SEND

SOLO O/P LEFT A' SOLO O/P LEFT 'B'
+ SOLO INJECT RIGHT PFL BUS

PAD ON R R TO BOTH

SOLO O/P RIGHT A' SOLO O/P RIGHT 'B'

MONITOR FADER 10

-20dB L/R REVERSE

PFL INJECT

MUTE HEADPHONES
+ SOLO BUS O/P LEFT SOLO TO MASTERS LEFT TALK MIC
ST MASTER BUS LEFT MASTER BUS RIGHT EXT EXTERNAL INPUT LEFT EXTERNAL INPUT RIGHT

talk internal

talk external
+ SOLO BUS O/P RIGHT SOLO TO MASTERS RIGHT +

OSCILLATOR

PINK NOISE

PFL BUS O/P + -

TALK EXTERNAL O/P
HERITAGE 3000 MONITOR MODULE BLOCK DIAGRAM ISSUE A DATE 28 - 4 - 98

SOLO LOGIC

TALK TALK ALL

PRE +V SOLO add mode

TALK SELECTED
GLOBAL METERING PRE SOLO CLEAR
Heritage 3000 Specification Overview and Statistics.
1. The Heritage 3000 is a 30 buss console with an additional 27 x 8 output matrix. The busses are as follows:1 stereo or mono configurable groups = 24 stereo master = 2 mono master = 1 stereo AFL = 2 mono PFL = 1 TOTAL = 30
2. The 3000 has 10 automute sub groups and 10 VCA sub groups which include VCA sub group muting. 3. The 3000 has 52 input channels plus an additional 26 direct inputs on the group and master modules. 4. The 3000 has a total XLR input count of 96 as follows:channel mic inputs group direct inputs matrix bus inject inputs solo bus inject inputs master direct inputs external inputs (2 track return) master bus inject talk mic input talk external input talk int line