The Midas microphone pre amp has become the benchmark throughout the audio world and its current expression in the PRO6 sounds better than ever. Still built from discrete components and based on the designs which were so successful in Midas analogue consoles such as the XL3, XL4 and Heritage, the PRO6’s dual (analogue and digital) gain stages enables users to shape the mic amps’ character according to preference.

The Midas PRO6 is the world’s second live audio console to feature a unique and comprehensive automatic latency management system which, in addition to managing all internal routing and processing delay, also includes compensation for external analogue inserts. This means that all audio samples are synchronised before summing, resulting in absolute phase coherency at all outputs.

The Midas PRO6 feels, as well as sounds superb. All variable controls on the console are genuine potentiometers, not encoders. These access the FPGA engine through A-D converters and Midas’ custom interpolation algorithms ensuring a linear, analogue-style, silky smooth “feel” to the mix.

 

The input channel processing

Each of the 56 full-function input channels has:

• Analogue and digital gain
• Phase reverse switch
• Input delay
• Swept high pass filter with choice of two filter slopes
• Swept low pass filter with choice of two filter slopes
• Frequency-conscious compressor with choice of 4 compression styles
• Frequency-conscious noise gate with external side-chain
• Insert point
• Treble eq filter with choice of four filter types
• Parametric hi-mid eq filter
• Parametric lo-mid eq filter
• Bass eq filter with choice of four filter types
• Routing via level controls to 32 aux mix busses
• Routing via pan control to left, and right master busses
• Routing to mono master buss
• Panpot (sis)
  
• Direct output

Each of the 8 auxiliary inputs has:

• Input gain
• Source from internal FX or external network input
• 4-band swept EQ
• Insert point
  
• Fader
  
• Panpot (sis)
  
• Routing via level controls to the 16 matrix busses
  
• Routing via pan control to the Left, Right and Mono master busses

 

The output channel processing

Each of the 16 auxiliary mix busses has:

• Subgroup, Auxiliary or Mix minus modes
• Dual mono or stereo pair modes
• 6-band parametric eq
• Optional 31 band GEQ (replaces PEQ)
• Frequency-conscious compressor with choice of compression styles
• Insert point
• Routing via level controls to the 16 matrix busses
• Routing via pan control to the Left, Right and Mono master busses
• Direct input

Each of the 16 matrix busses has:

• 6-band parametric eq
• Optional 31 band GEQ (replaces PEQ)
• Frequency-conscious compressor with choice of compression styles
  
• insert point
  
• Direct input
  
• Mix minus mode

Each of the master output busses has:

• 6-band parametric eq
• Optional 31 band GEQ (replaces PEQ)
• Frequency-conscious compressor with choice of compression styles
• insert point
• Direct input