FAQs

The standard system has 24 analogue inputs, patchable to up to 64 processing channels, depending upon console configuration (see section 3.1)

100 network inputs, dependent upon hardware configuration (see section 3.1)

24 aux mixes, plus Left, Right and Mono. All aux mixes can be configured as stereo pairs, with separate level and pan controls

Up to 64, all with EQ and dynamics processing, if 16 aux mix busses are configured as additional input channels (see section 3.23)

The PRO1 can have 16 input faders.

Yes, the PRO1 connects directly to a KT DN9696 recorder, or any other AES50 recorder, via Cat-5 cables, or most other multichannel digital audio sources via DN9650

Yes, the PRO1 connects directly to a KT DN9696 recorder, or any other AES50 recorder, via Cat-5 cables. You can also use a KT DN9650 to connect to MADI recorders or DANTE networks.

Yes, the PRO1 can source directly from another MIDAS digital system, or from the “B” digital outputs of a DL431 input splitter, or use DL351’s or DL451’s or DL251’s and DL252’s

Yes, via a KT DN9650 network bridge

Less than 40 seconds from cold

No. The PRO1 uses stable, open-source Linux as an operating system, and most plug-ins are designed to run on a Windows or Mac O.S. Also, running third party software on the PRO6’s platform would compromise the automatic delay management system, as a lot of the currently available (and popular!) plug-ins have serious latency problems. However, it is possible to insert any 3rd party plugins using a LYNX studio systems AES50 PCI-bus card, and an external computer as a host.

Yes, the PRO1 has normal stereo, SIS (LCR panning) Quad (4 ch.) LCRS (Left, Centre Right Surround) and 5.1 panning implemented.

The PRO1 has separate control and audio processing computers. In the unlikely event of the Linux control computer failing, it can be rebooted without switching off the power to the console. All of this takes place without any interruption of audio.

The PRO1’s latency is DETERMINISTIC and AUTOMATICALLY MANAGED is the correct answer to this question. Don’t allow customers to compare latency, thinking that the smallest number is the best. Latency is application-specific. Small numbers are important only in IEM (in-ear monitoring) applications, which the PRO1 is quite capable of providing. Of much greater importance for superior audio reproduction is that the latency through a system is synchronised. This means that all audio is phase-coherent at all times. MIDAS PRO series and XL8 are the only live audio consoles in the world which do this automatically. (PRO1 minimum latency including A-D and D-A with all delay compensation off is less than 2ms.

Yes, remote control of the PRO1 is via iPAD and a wireless access point.