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. The evolution of Midas consoles throughout the 35-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. Be Heard. 2005 Telex Communications, Inc.

Legend 3000

live sound installation audio visual broadcast
Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ. England. Tel: +741515 Fax: +745371 email: midas.info@uk.telex.com web:www.midasconsoles.com

Doc05.Legend 1.6.2005

Introduction
The Midas Legend console combines the Midas sound and reliability with unprecedented affordability for a console of its calibre. It is designed for the tour operator, hire company or installer who cannot justify the cost of a Midas Heritage yet who are reluctant to buy a 'second division' console. Legend includes the XL4's high performance preamps plus the XL3 EQ to deliver the trademark Midas sound, and it uses the same snapshot automation system as its larger cousins. However there are also some innovative new features that make the console particularly attractive. Firstly, a significant cost saving has been achieved by designing the Legend around blocks of eight channels, yet the clever design means that servicing is still very straightforward. Furthermore, acknowledging that many of the Legend's potential customers need on occasions to provide a monitor mix from the FOH position, each Legend input channel provides independent FOH and Monitor controls with dedicated EQ and faders. There are 12 highly flexible auxiliary sends, which may be used individually as foldback or FOH effects sends, and the user has complete freedom in how these are assigned. In the Legend, we can truly say that the only material compromise is on price.

Mono Input Module

The input module features XL4's monitor and front of house high performance preamps plus the XL3 EQ and has 12 fully configurable Aux sends. The channel features the Legend's unique topography whereby both the monitor and FOH controls are presented within the same channel strip and both sets of faders are located at the bottom of the strip for ease of use. A HI PASS filter is available pre- the insert point after which the signal path splits to feed both the FOH and MON paths. Both the monitor and FOH signal paths can benefit from a XL3derived 4-band equaliser, which features two fully parametric mid range sections and two variable frequency, shelving equalisers at the extremes. Each frequency section of the equaliser can be independently removed from the monitor signal path if desired and uniquely two additional sections of EQ are dedicated for monitor use only. The insert point is normally pre EQ and acts on both signal paths but it can be switched to post - the front of house EQ where it will not affect the monitor signals. 12 AUX controls are provided and each can be globally assigned to derive signals from the FOH signal path or the MON signal path. The AUX PRE switches change the signal sent to the Aux busses from post fader to pre fader. SIS: When the Spatial Imaging System is active, the mix can be configured for a three speaker system, a two speaker system or a blend of the two, so that the optimum degree of centre image focus and loudspeaker power sharing can be obtained. When the image control and Pan control are both set centrally, the channel signal will be routed equally to all three speakers. The SOLO switch sends the input channel monitor signals to the MON PFL/AFL busses and also sends input channel front of house signals to the FOH PFL/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. By default, the Solo system is auto cancelling, though the SOLO ADD mode switch on the Master Module defeats the auto cancelling to allow multiple channel Solo monitoring. If the Master Module SOLO SIS is enabled, the front of house Solo busses will switch to LCR operation. Separate MON MUTE and FOH MUTE switches are fitted and may be accessed via the snapshot automation. Independent MON and FOH FADERS provide independent adjustment of the monitor and front of house input channel levels and 10 ASSIGN LEDs display the status of the FOH VCA, MON VCA, and AUDIO Group assignments.

Mix Output Module

TALK BACK SECTION The talkback section includes the expected monitor and talkback features, plus a brightness control for the console Littlites and LEDs. A TAPE input routes to the stereo and/or mono master busses. The test oscillator is continuously adjustable over the range 50Hz to 5K while activating the integral pink noise switch overrides the oscillator. The signal generator output may be routed to the console's internal talk busses and to the talk external output XLR. An on-board mic amp with phantom power accommodates all standard talkback mics and a number of routing options are available for the talk/signal generator signal where it can feed the external output, Groups 1,2,3 and 4 busses, Groups 5,6,7 and 8 busses or all the matrix busses. There's also an inbuilt ambience mic preamp with phantom power and the Talk section includes a 4-band semi-parametric equaliser with swept mid controls. The meters can display levels from the Monitor Group, Stereo Return or Matrix signals. MIX SECTION The Mix section provides metering for the peak signal level at the post fader mix outputs while the MON switch acts globally across a single mix buss to reconfigure the input module and stereo Aux return module sends so that they derive their signal from the monitor signal path in place of the front of house signal path. The Ambience level control enables an external microphone to feed the mix buss. The control provides continuous adjustment over the range +6dB to off. The equaliser in this section is the full 4-band design used in the input channels and the EQ switch inserts the equaliser into the mix output signal path. Phase switch, Mute and Solo facilities are provided where the Mute may also be controlled via the snapshot automation system. SOLO sends the input mix signals to the MON PFL/AFL busses and to the FOH PFL/AFL stereo busses. Solo on/off latching is as per the input section. The MIX FADER provides continuous adjustment of mix levels from + 10dB to off. VCA MASTER SECTION The VCA Master section provides centralised control over the VCA functions of the Legend and includes the VCA MUTE switch, which acts on the pre and post fader signals of any input channels assigned to the VCA master. This function can also be controlled from snapshot automation. A VCA SOLO switch monitors the VCA master fader by creating a mix on the Solo busses comprising all those input channels that are assigned to the VCA master. 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. When the console is operating in SOLO ADD MODE, input channels have priority over VCA solos and will temporarily override them. The VCA MASTER FADER controls the output level of any input channels assigned to the VCA master over the range +10dB to off

Master Module

GROUP SECTION This section includes the Group Pan controls, which can be configured for either 2-speaker or 3-speaker panning. A MONO switch connects the post fader Group signal to the mono master buss while a ST switch routes the post fader Group signal to the master stereo buss via the Pan control. The Group MUTE switch function may also be controlled via snapshot automation. The SOLO switch routes Group signals to the MON PFL/AFL busses and the FOH PFL/AFL stereo busses. Solo on/off latching is as per the input section. MATRIX SECTION This section includes metering for the Masters and Solo Monitors. Meter selection defaults to Master L, C, R and Ambient input, but when a Solo is active, the meters show FOH Solo L, C, R and Monitor Solo levels. If the Solo is monitored pre fade, the meters also follow this selection. Matrix metering is accommodated in the Mix output section. MATRIX SEND controls (1 to 8) set the levels sent from the Group outputs to the matrix busses while the LEFT/RIGHT rotary controls provide continuous adjustment of the levels sent from left and right master outputs to the matrix busses. A CENTRE (mono) rotary control sets the levels sent from the mono master output to the matrix busses. An EXT input is summed on to the matrix buss and has its own level control. The MUTE switch mutes the matrix post level control signals and can be controlled from snapshot automation. The SOLO switch sends matrix signals to the MON PFL/AFL busses and the FOH PFL/AFL stereo busses. Solo on/off latching is as per the input section. MASTER SECTION The BALANCE control functions as a buss left/right balance trim for the pre-insert left and right master signal paths. The stereo master MUTE switches (which are not linked to the snapshot system) cut the post fader output signals. The mono master MUTE switch (which is not linked to the snapshot system) cuts the post fader output signal fader. The two master FADERS control the output levels of the main mix over the range +10dB to off. The master module includes the Aux Return master controls plus metering for the Group, Stereo Return or Matrix signals. Source selection is via the Meter Selector assign switches on the mix module. A 4-band, semi-parametric equaliser is available in the stereo effects return signal path. AUX controls (1 to 12) provides continuous adjustment of the level sent from the corresponding stereo effects return to the Aux busses and Aux busses may be globally assigned to derive their signals from the FOH signal path or the MON signal path. The returns have level controls, pans and Mute switches and the MONO switch routes the post fader stereo effects return signal to the mono master buss. The ST switch routes the post fader stereo effects return signal to the master stereo buss via the Pan control. The SOLO switch sends stereo effects return monitor channel signals to the MON PFL/AFL busses and sends front of house stereo effects return signals to the FOH PFL/AFL stereo busses. Solo on/off latching is as per the input section. The FOH MUTE switch mutes the front of house stereo effects return signal path at all points and can be automated. The stereo effects return audio Group assignments are programmable while the central controller MODE switches and ASSIGN keys select the desired audio Group. SET switch toggles the stereo effects return buss feed on and off. MONITOR SECTION The MONO SOLO TRIM adjusts the incoming Solo level before sending it to the monitor output while the STEREO SOLO TRIM adjusts the incoming Solo level before sending it to the monitor output. The MONO Master switch routes the post fader mono Master Mix to the mono Local Monitor output. The mono SOLO switch routes Soloed signals to the mono Local Monitor output and overrides any signals sent from the mono master. The SIS switch routes Solo signals to the mono and stereo Local Monitor outputs with full left, centre, right imaging overriding signals from other sources whenever a Solo is active. The stereo SOLO switch routes Solo signals to the stereo Local Monitor outputs whenever a Solo is active on the console, overriding any signals sent from the Mono Master, Stereo Master or Tape Input. The MONO Master switch routes the post fader mono Master Mix to the stereo Local Monitor outputs while the ST Master switch routes the post fader stereo Master Mix to the stereo Local Monitor outputs. A TAPE switch routes the stereo tape input to the stereo Local Monitor outputs and the MON switch reconfigures the local monitor signals to be derived from the MON signal paths. FOH signals are monitored as a default.

The Local Monitor level control gives continuous adjustment of all three Local Monitor output levels. The Local Monitor outputs are fitted with Mute switches. A PHONES output is available where operating the SOLO PFL switch sends the mono PFL Solo buss signals to the headphones and causes the AFL signals to be replaced by the Local Monitor outputs. This also changes the Solo meters to monitor PFL Solo buss signals. The SOLO ADD MODE allows multiple channel access to the Solo busses. When the Solo Add mode is off, the action of pressing a Solo switch will cancel any previously active Solo. When the Solo add mode is on, the auto cancelling is defeated, which allows multiple channel or output soloing. When the SOLO ON/CLEAR switch is pressed it clears any active Solo switches. AUTOMATION CENTRAL CONTROL SECTION This section provides access to the automated features of the Legend and follows the same paradigm as the Heritage and XL4 consoles. The interlocking FOH VCA, MON VCA, Group and Aux switches determine the current assignment/display mode for the input module assign LEDs. If they are pressed down for more than 0.5 second, the interlock is removed. This function is used for 'clear mode'. The ASSIGN KEYS are used to change the settings for input VCA FOH, VCA MON, audio Group or Aux assignment in conjunction with the SET switch on each channel. The mode switches can be used to select which assignments are cleared; pressing VCA mode clears the VCA routing, pressing Group mode clears the Group routing and so on. Press the mode switch (long press) to engage more modes for simultaneous clearing. SNAPSHOT AUTOMATION SYSTEM The console is fitted with a powerful Snapshot automation system capable of storing and recalling up to 500 snapshots. A snapshot stores the settings of the channel mutes controls, the routing assignments and VCA assignments. When the LOCK switch is illuminated, all assignment changes are disabled and virtual fader operation is locked (either on or off). The console automatically reverts to a locked state if no assignment controls are operated within a 90 second period. When Solo In Place is selected, any input Solo that is pressed causes all the other channels to be muted. This switch must be pressed for 3 seconds before it will operate as a precaution against accidental operation An A/B switch selects which of two micro cards is controlling the console assignment and automation systems. For reliability, the entire assignment and automation systems are duplicated and the console can operate on either of the systems. All snapshots are stored to BOTH systems. Operating the STORE key will store the current console assignments and settings to the current snapshot.

Snapshots can also be programmed to generate MIDI information so that when a snapshot is recalled, these messages are sent via the console's MIDI Out. The system menu includes the LOCK function, which selects from four possible levels of console operation: TOTL All automation and assignment functions are disabled RCAL Only recall and assignment functions are available. STOR Scene storage/editing, recall and assignment are operational SYST All functions are available. The CHECK switch provides a preview of the mute status on the console surface WITHOUT recalling the snap shot settings. While in check mode, the ACT/ SCENE C/O, and UP/DOWN switches may be used to step through the snapshots. Snapshots can be stored in the automation system as either ACTs or SCENEs where scenes are simply subsets within acts. The LAST, NOW and NEXT switches recall snapshots to the console surface.
Helix, the revolutionary digital EQ device from Klark Teknik, offers the ability to link to all Midas consoles in the Heritage, Legend and Siena range via the solo tracking system. This means that when you press any solo key on the console, the EQ for that input or output (outputs only on a Siena) is instantly displayed on the Helix master unit, or as an option on a wireless PC, ready for immediate control. Naturally you have complete access to all the Helix functions allocated to that input or output. A 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. It's all the EQ you will ever need, as fast as you need it.

Options & Features

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 Legend and Heritage consoles to communicate with each other. Any mixture of Legend or Heritage 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 Legend 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 Legend Utilities Software The Legend 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. L3750 Power supply unit A smaller, lighter, cooler and quieter design. There are two PSUs in this 2U rack mountable unit. The unit is capable of hot swapping the individual supplies and there is also the added benefit of rail indication on the console.

Dimensions and Weight. Width 482.6mm (19) Height 90 mm (3.54) Depth 343mm (13.5) Depth inc connectors 389mm (15.31) Weight 13Kg (28.6lbs) Packages The Legend 3000 can be specified in two turnkey packages to suite your application. There is a touring package that consists of a Legend 3000, a L3750 power supply, Littlites, dust cover and flight case. The install package is similar to the touring package however a crate replaces the flightcase. Warranty When you purchase a Legend 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.

Block Diagrams

Specifications
Input Impedance Mic Line Mic Mic + Pad Line Level Inputs Mic Mic + Pad Line Level Inputs Mic (gain + 40dB) Mic +Pad (gain 0dB) Mic to Mix (gain + 40dB) Mic EIN ref.150 Ohms (gain + 60dB) Summing Noise (48 channels routed with faders down) Line to Mix Noise (48 channels routed at 0dB, pan centre) Mic to Mix (+ 40dB gain, 0dBu output) Channel to Channel Channel to Mix Maximum Fader attenuation All Line Outputs Headphones Maximum Output Level All Line Outputs Headphones Nominal Signal Level Mic Line Headphones 2k Balanced 20k Balanced Continuously variable Continuously variable 0dB +6dBu +31dBu +21dBu 80dB 50dB +0dB to -1dB all faders at 0dB + 15dB to + 60dB - 15dB to + 30dB Input Gain

Maximum Input Level

CMR at 1kHz
Frequency Response (20 to 20kHz) Noise (20 to 20kHz) System Noise (20 to 20kHz)

-128dBu

Distortion @ 1kHz

Crosstalk @ 1kHz

-90dB -90dB 80dB

Output Impedance

50 Ohms Balanced Source to drive 600 Ohms to drive 100 Ohms +21dBu +21dBu -60dBu to +10dBu 0dBu +10dBu
Equaliser FOH & MON input
Hi pass Slope Hi pass Frequency
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

12dB / Oct -3dB point from 20Hz to 400Hz +15 dB to -5dB Centre detent = 0dB -3dB point from 1k to 20k +15dB to -15dB Centre detent = 0dB centre from 400Hz to 8k 0.1 Oct. to 2 Oct Centre detent = 0.5 Oct +15 dB to -15 dB 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 +15dB to -15dB Centre detent = 0dB centre from 400Hz to 16k +15 dB to -15 dB Centre detent = 0dB centre from 50Hz to 2k
FOH input & MON output Treble Gain Treble Shelving Freq. Hi Mid Gain Hi Mid Freq. Hi Mid Bandwidth Lo Mid Gain Lo Mid Freq Lo Mid Bandwidth Bass Gain Bass Shelving Freq MON input Hi Mid Gain Hi Mid Freq. Lo Mid Gain Lo Mid Freq

Overview and Statistics

The 52 Channel Legend 3000 is a 28 buss console with an additional 12 x 6 output matrix. The busses are 8 audio groups = mono aux = stereo master = mono master = stereo AFL = mono PFL = monitor AFL = monitor PFL = 1 TOTAL = VCA sub groups which include VCA sub group muting A total XLR output count of 33 are: 8 audio group outputs 12 aux outputs 6 matrix outputs 3 master outputs 3 local outputs 1 talk external output 2060 automated switch functions are: 576 input channel aux virtual assign switches 1344 input channel VCA sub group virtual assign switches 96 input channel mute switches 8 audio sub group mute switches 12 aux mute switches 10 VCA master mute switches 6 matrix mute switches 8 stereo effects mute switches A total XLR input count of 51 are: 48 channel mic inputs 2 talk mic input 1 ambient mic input A total of 264 balanced 1/4 inch jacks for inserts are: 48 input channel insert sends 48 input channel insert returns 8 audio group insert sends 8 audio group insert returns 12 aux insert sends 12 aux insert returns 6 matrix insert sends 6 matrix insert returns 3 master insert sends 3 master insert returns (48 channel line inputs) (8 stereo effects inputs) (6 matrix external inputs) (48 direct channel outputs) 60 long throw faders for mix control: 72 short throw faders There are a total of 72 peak programme meters with 11LED segments on all outputs and 7 LED segments on input channels. Input EDAC per channel are: 8 x Pre insert direct output 8 x Mic/Line inputs Mix and Master EDACs are: 12 mix outputs 12 mix bus injects 3 master outputs 3 master bus injects Group and solo EDACs are: 8 group outputs 8 group bus outputs 6 solo bus outputs 6 solo bus injects Lamps: 6 on a 52 channel EDAC Wiring Diagram

Frame Sizes

685.48mm/26.99 114.92mm/4.52 90.20mm/3.55

105mm/41.33

63.96mm/2.52
871.89mm/34.33 920.02mm/36.22
52 Channel (48 mono/4stereo)

48 Channel Frame

2135mm/84.05 2185mm/86.02
44 Channel (40 mono/4stereo)

40 Channel Frame

1854mm/72.99 1904mm/74.96
Weights: (out of flight case) 28 channel 24 mono/4 stereo 36 channel 32 mono/4 stereo 44 channel 40 mono/4 stereo 52 channel 48 mono/4 stereo These weights are approximate.

71kg 85kg 100kg 114kg

156.5lbs 187.4lbs 220.5lbs 251.3lbs
36 Channel (32 mono/4stereo)

32 Channel Frame

1573mm/61.93 1623mm/63.90
28 Channel (24 mono/4stereo)

24 Channel Frame

1292mm/50.87 1342mm/52.83
Due to our policy of continual improvment Midas reserve the right to alter the specification and performance of this console without prior notification.

72.02mm/2.84

37.10mm/1.46

257.88mm/10.15

350.12mm/13.78

INSTALLATION

There are a number of points to consider when installing a mixing console. Many of these points will have been addressed before the console is even unpacked but it is worth repeating them. POSITION The console should be located in a convenient space commensurate with the use to which the console is being put. Ideally a cool area is preferred not in close proximity to power distribution equipment or other potential sources of interference. Provision should be made for some flat surface surrounding the console to prevent people using it as a table top. POWER The power supply should be located as far from the console as the connecting cable will allow. It should be set for the appropriate line voltage and plugged into the mains outlet using the supplied cable.
THE POWER SUPPLY SHOULD NEVER BE OPERATED WITH THE MAINS EARTH DISCONNECTED
Please note that the power supply contains LETHAL VOLTAGES greatly in excess of the mains voltage and that its rails can produce extremely large currents which could burn out equipment and wiring if shorted. All testing and servicing should ONLY be carried out by qualified engineers.

CONNECTORS

BUS IN
Input / Output XLR Pin 1: Ground Pin 2: Hot Pin 3: Cold

THRU OUT IN

MIDI In Pin 2: Ground Pin 4: In+ Pin 5: InMIDI Thru Pin 2: Ground Pin 4: In+ Pin 5: InMIDI Out Pin 2: Ground Pin 4: In+ Pin 5: In-
RS-232 Pin 2: Receive Data Pin 3: Transmit Data Pin 5: GND

CAN BUSS

Midas Can Bus Pin 1: +18V (100mA max) Pin 2: Can low Pin 3: OV Can Pin 4: Can High Pin 5: -18V(100mA max)

RS-232

Input Send / Return Tip: Hot Ring: Cold Sleeve: Ground

Contents

Midas HS0001 Mono Input Module Midas HS0003 Input Fader Midas HS0004 Stereo Input Module Midas HS0003 Input Fader Midas HS0011 Group Module Midas HS0013 VCA Master Fader Midas HS0021 Master Module Midas HS0031 Monitor Module Midas HS0041 Matrix Module Midas Automation Heritage Menu Overview Midas Can Bus Cable Heritage Back Panel Frame Dimensions Block Diagrams Input Module Group Module Matrix Module Master Module Monitor Module Heritage Overview and Statistics Heritage Technical Specifications Crib Sheet
Page 1 Page 2 Page 8 Page 13 Page 15 Page 19 Page 21 Page 25 Page 29 Page 32 Page 40 Page 48 Page 49 Page 51 Page 53 Page 54 Page 55 Page 56 Page 57 Page 59 Page 61

48V PAD O

direct o/p

treble

freq INS PRE
MIDAS HS0001 Mono Input Module

hi-mid

100 2k +/0 15

lo-mid

100 15

20 freq 400 60

20 freq 400 C 0 0

pan r SIS

+18 +15 +12 +9 +6 +-3 -6 -9 -25

stereo

MIDAS HS0001
The 48V switch connects 48 volt phantom power to the input connector which is suitable for a condenser microphone or DI box. The PAD switch gives 25dB of attenuation to the input signal which will allow the connection of high output microphones or line level signals. If the input amplifier is transformer coupled (option) the pad greatly reduces the risk of saturation at very low frequencies. The PHASE switch activates a 180 degrees phase change within the input amplifier. The PRE switch re configures the direct output to derive signal from the input channel pre insert and equaliser. It is important to note that pre insert direct outputs are also pre mute. The treble FREQ control gives continuous adjustment of the frequency range that the treble equaliser acts on from 1k to 20k. The treble BELL switch converts the treble equaliser from traditional MIDAS shelving response to full parametric operation.

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.
The BASS control gives continuous adjustment of the left and right shelving filters boost and cut from +15dB to -15dB with a 0dB centre detent.

freq400

The HI PASS filter control is continuously adjustable from 20Hz to 400Hz.
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 of the levels sent from a mono sum of the channels left and right sides. The adjustment is from + 6dB to off. When configured as stereo auxes the left controls give level adjustment of the left channel signal levels and the right controls give level adjustment of the right channel signal levels. 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.

9 PRE 10 PRE

The left and right PAN controls are used to place the input channel signals within a stereo group or stereo master mix. As well as image placement, the controls can also adjust the image width from stereo through mono to reverse stereo (left and right crossed over). The controls have a constant power law i.e. -3dB at the centre position.
The ST switch connects the post fader channel signals to the stereo master bus via the pan controls.
The MONO switch connects the post fader channel signals to the mono master bus.
The METERS monitor the pre fader peak signal levels of input channel.

MIDAS HS0004

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-

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.

TALK input MONO masters SOLO
The mono output MUTE switch mutes the mono local monitor output.
The PHONES level control gives continuous adjustment of the headphone level from + 10dB to off.
The phones MUTE switch mutes the headphone outputs. The ST master switch routes the post fader stereo master mix to the stereo local monitor outputs. The MONO master switch routes the post fader mono master mix to the stereo local monitor outputs.

phones

The EXT switch routes the stereo external input (2 track return etc.) to the stereo local monitor outputs. The SOLO switch routes solo signals to the stereo local monitor outputs when ever a solo is active on the console. This overrides any signals sent from the stereo master, mono master or external input.

stereo source

The stereo output "b" C/O switch disconnects the stereo local monitor outputs from the main "a" outputs and re-routes them to the secondary "b" outputs. The PHASE switch reverses the phase of the left hand monitor signal. When the left/right reverse is ON the left hand monitor signals are routed onto the right channel output speakers and the right hand monitor signal are routed onto the left channel output speakers. The LEFT switch routes left hand monitor signal to both the left and right local monitor speaker outputs. The left MUTE switch controls the mute function on the left hand side of the stereo local monitor speaker outputs. The SOLO PFL switch sends the mono PFL solo bus signals to the headphones and local monitor outputs in place of the stereo AFL solo bus signals. The SOLO ON / CLEAR switch and indicator has two functions; it illuminates when any solo switch is active and when pressed it clears any active solo switches. The MONITOR fader gives continuous adjustment of all three local monitor output levels from + 10dB to off.
stereo output C/O output b
The MONO sum switch adds the left and right monitor signals with a 4.5dB summing loss. The -20 PAD switch acts on all three local monitor outputs causing them to dim by 20dB. This function is also activated whenever the talk system is in use to prevent howl round. The RIGHT switch routes right hand monitor signal to both the left and right local monitor speaker outputs. The right MUTE switch controls the mute function on the right hand side of the stereo local monitor speaker outputs. The SOLO ADD MODE switch allows multiple channel access to the solo busses. When the solo add mode is off the action of pressing a solo switch will cancel any previously active solo. Multiple solos such as stereo left and right signals can be monitored in this mode of operation as long as the solo switches are pressed at approximately the same time. When the solo add mode is on the auto cancelling is defeated which allows multiple channel or output soloing. In this mode input solos have priority over output solos and VCA solos and will temporarily override them. When the input solo is cancelled the output solos or VCA solos will return.

The LAST, NOW and NEXT switches recall snapshots to the console surface. NEXT recalls the snapshot numerically proceeding the snapshot that is currently recalled/stored.
NOW recalls the snap shot that is currently indicated on the numeric display.
The SYSTEM switch gives the operator access to the system menu. Navigation of the menu is achieved by using the UP/DOWN switches to select an entry and then pressing CONFIRM to execute the selected function or sub menu. To exit a menu or sub menu press CANCEL.
The system menu contains LOCK which defines the level of console operation.
These levels are: TOTL All automation and assignment functions are disabled RCAL Only recall and assignment functions are available. STOR Scene storage/editing, recall and assignment are operational SYSTAll functions are available. Operating the STORE key will store the current console assignments and settings to the snap shot being displayed on the numeric display. The MIDI key allows the operator to edit the snap shot MIDI information. On entering this mode the operator will be presented with a menu of the four MIDI messages that are stored within each snap shot, its operation is similar to the system menu.
The COPY, DELETE and INSERT keys allow the operator to edit the snapshot sequence in the following manner. INSERT. Pressing this key will allow the operator to insert a snapshot at the number on the numeric display. The scene that was originally at the number and all con-current scenes will be re-numbered by adding one to their scene numbers. COPY. This will copy the snapshot currently displayed on the numeric display to a temporary memory location. This can then be stored or inserted to a new scene number in the normal fashion. When in copy mode a fast scene number can also be assigned to the scene by simply pressing the desired fast scene switch. DELETE will erase the snapshot that is currently being displayed on the numeric display from the automation memory. The CHECK switch provides a preview of any snapshot on the console surface WITHOUT recalling the ACTUAL setting to the console surface (mutes are displayed on the safe switches so that current mute status is always present and accurate). Whist in check mode the ACT/ SCENE C/O, and UP/DOWN switches can be used to step through the snapshots.

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.

If a new scene is recalled the fader adjustments made will be added to the new scene also. The adjustment can be removed by returning the fader to the 0dB position or by clearing the fader to -infin as detailed below.
If a new scene is recalled the fader adjustments will all be cleared and the set leds will extinguish to indicate that faders are not tracking even if their position suggests that they are (because they are not set to -infin).
In order to make the virtual fader leds as clear to view as possible it might be desirable to clear all non adjusted faders to -infin. To do this press the virtual fader switch and then move any fader that is to be cleared to the -infin position. Press the virtual fader switch again and the faders will be ready to be active again. Only faders which do not need adjustment should be cleared as any virtual fader level changes made prior to clearing will be removed at the next scene recall.
In order to make the virtual fader leds as clear to view as possible it might be desirable to clear all non adjusted faders to -infin. To do this press the virtual fader switch and then move any fader that is to be cleared to the -infin position. Press the virtual fader switch again and the faders will be ready to be active again. Any virtual fader level changes made prior to clearing will still be active but they will be cleared at the next scene recall.
It is possible to pick up all the faders and then set them to 0dB if adjustment is not required. There is no need to clear them. This is a user preference.
If faders are not cleared prior to recalling a new scene it may be advisable to clear them immediately afterwards to avoid confusion.
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.

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: Setting up a scene, Assigning VCA, Mutes, Faders etc. Assigning VCA's: a/ Ensure that the lock button is not illuminated on the mode switches (if it is just press the button to extinguish the LED). b/ Press the VCA mode button so that it is illuminated. This has now selected the VCA mode on the input modules. c/ Using the ASSIGN KEY select which master VCA you wish to assign to a particular input module ( 1-10 ). Quickly enabling a button will clear all other buttons enabled so only the one selected is illuminated, push and holding the button down for 0.25seconds will not disable other buttons previously enabled. d/ On the input channels you wish to assign to the master VCA(s) selected press the SET Button, the relevant LED(s) on the input channel will illuminate. If the SET button is pressed quickly the VCA's selected on the assign keys will be added to those already selected on the channel. If the SET button is pressed and held for a short time then any VCA's already selected on that channel will be cleared and replaced with those selected on the assign key. Assigning Mutes: a/ Ensure that the lock button is not illuminated on the mode switches if it is just press the button to extinguish the LED. b/ Press the MUTE mode button so that it is illuminated. This has now selected the mute mode on the input modules. c/ Using the ASSIGN KEY select which Automutes you wish to assign to a particular input module ( 1-10 ). Quickly enabling a button will clear all other buttons enabled so only the one selected is illuminated, push and holding the button down for 0.25seconds will not disable other buttons previously enabled. d/ On the input channels you wish to assign to the Automutes selected press the SET Button, the relevant LED(s) on the input channel will illuminate. If the SET button is pressed quickly the Automutes selected on the assign keys will be added to those already selected on the channel. If the SET button is pressed and held for a short time then any Automutes already selected on that channel will be cleared and replaced with those selected on the assign key. Fader Position: a/ Ensure the Virtual Fader recall mode button is not illuminated and the faders are in normal mode, if this is enabled the new fader position will not be stored. b/ Move the faders to the desired position. The only other automated buttons on the console to be set are the Input Mutes, Master VCA Mutes, Group Mutes, Matrix Mutes and Master Mutes.

DIRECT

VCA VOLTAGE

INTERNAL PRE/POST OPTIONS direct o/p
SET LEDS MAY FUNCTION IN ANY ONE OF THREE WAYS AS SHOWN. FUNCTION IS DEPENDANT ON ASSIGN MASTER SWITCHES.

safe vca safe mute

MUTE SAFE
SIGNAL PATH KEY = ANALOGUE SIGNALS = D.C. SIGNALS = AUTOMATION SIGNALS

SOLO CONTROL

HERITAGE 3000 INPUT MODULE BLOCK DIAGRAM ISSUE A DATE 11 - 5 - 98

CAN BUS

XL3000 INPUT FADER MODULE BLOCK DIAGRAM
TO MATRIX 2- 8 MATRIX BUS (1 OF 8) MONO

MONO MASTER BUS MONO ST

HERITAGE 3000 GROUP MODULE BLOCK DIAGRAM ISSUE A DATE 1 - 5 - 98
METERS PRE TALK SELECTED TALK ALL LEFT DIRECT LEFT BUS NOISE BUS

MATRIX SENDS (1PAIR OF8)

PRE fader

MASTER BUS LEFT

direct input
PRE insert + INSERT POINT SOLO TALK INS + SEND INS

MASTER BUS RIGHT +

LEFT O/P

RETURN

RIGHT BUS

INSERT POINT

RIGHT DIRECT

TALK SEND

SAFE MUTE

RIGHT O/P -

SOLO SOLO
SOLO LOGIC SOLO LEFT SOLO RIGHT PFL
PREVIEW MUTE AUTOMATION VCA 9 VCA 10
BUS LOGIC STEREO AUX MONO AUX

red = mono aux

HERITAGE 3000 MATRIX MODULE BLOCK DIAGRAM ISSUE A DATE 1 - 5 - 98
METERS PRE TALK SELECTED TALK ALL MATRIX 1 INJECT MATRIX1 BUS MATRIX REFERENCE BUS MATRIX 2 BUS MATRIX 2 INJECT

+ INSERT POINT SEND TALK

MATRIX 1 OUTPUT

RETURN INST

+ INSERT POINT -

MATRIX 2 OUTPUT

SOLO split PREVIEW MUTE AUTOMATION SOLO LEFT SOLO RIGHT
MASTERS VCA VCA VCA FROM MASTERS

SOLO LOGIC SOLO

MATRIX 5 INJECT MATRIX 5 BUS MATRIX REFERENCE BUS MATRIX 6 BUS MATRIX 6 INJECT

MATRIX 5 OUTPUT

+ MATRIX 6 OUTPUT

VCA VCA FROM MASTERS

TO MATRIX 2- 8 left sum right

MATRIX SEND (1 OF 8)

MATRIX BUS (1 OF 8)
HERITAGE 3000 MASTER MODULE BLOCK DIAGRAM ISSUE A DATE 30 - 4 - 98
METERS PRE TALK SELECTED TALK ALL MONO INJECT MONO BUS
MASTERS SUM RIGHT MASTERS SUM LEFT

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
5. The 3000 has a total XLR output count of 89 as follows:1 input channel direct outputs audio group outputs matrix outputs master outputs solo outputs local outputs talk external output
6. The 3000 has a total of 180 balanced 1/4 inch jacks for inserts as follows:input channel insert sends input channel insert returns audio group insert sends audio group insert returns matrix insert sends matrix insert returns master insert sends master insert returns local insert sends local insert returns

Bass Shelving Freq. Bass Bell Freq. Bass Bell Bandwidth

Klark Teknik Group

DOC02-H3000

11/02/03