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MIDAS XL4
BROADCAST CONSOLE
Contents
Introduction
Features
Overview and Statistics
Technical Specification
Block Diagrams
Rear Panel
Midas XL402 Input Pod 1
Midas XL401 Input Module 3
Midas XL405 Stereo Input Pod 7
Midas XL404 Stereo Input Module 9
Midas XL403 Input VCA Fader 13
Midas XL414 Group Module 15
Midas XL412 Group Pod 19
Midas XL413 Grand Master A VCA Fader 21
Midas XL421 Master Module 25
Midas XL422 Master Pod 29
Midas XL431 Communications Module 33
Midas XL441 Matrix Module 38
Midas XL443 Automation Central Control 41
XL4 Introduction
The XL4 is the pinnacle in the current range of Midas consoles. Designed around the classic
high quality associated with analogue circuitry which was proven with the XL3 Live Performance
and Theatre console. The requirements associated with the broadcast environment was designed
into the original XL4 specification. These include, moving faders on all 48 Inputs and 12 VCA's
including remote machine starts, instant access to AFL/PFL, Snapshot automation to include audio
follow video, direct outputs on each input, 16 Mic/Line level returns with VCA routing for total
control over effects and ambient microphones as well as full communications module.
Acknowledgments
Thank you to:
Gottfried Duren-Fisgus
Christian Gobbel
from Sono Studiotechnik
Phillipe Monteau
Jean Pascal Lefort
from Visual Technology
Input Pots Aux Send Masters 16 mic/line Masters & Comms 20 x 8
level returns Modules Matrix
16 Audio Sub Groups 24 Input
Channels
24 Input channels each with 10 VCA sub groups
direct output, 4band parametric Automation package capable of
on moving faders
e/q, 16 mono aux (post panpot) memorising:audio, VCA,
2 Grand Masters mute group routing,status of
8 stereo groups and stereo masters
all input channel switches,
plus: midi, smpte, RS-232 ports
Midas XL4 Features
48 Mic Inputs.
The XL4 features a new mic amplifier which further improves on the XL3 design giving increased
gain range and lower distortion whilst retaining the XL3's constant HF bandwidth topology which
assures excellent amplifiers stability, RF rejection and noise performance at all gains.
Direct Outputs.
Every input module is fitted with a direct output as standard with its own level control and front
panel switching which selects the source from post fader, pre fader or pre insert and equaliser.
16 audio sub groups.
The 16 main audio groups can be assigned to any of the 8 automute groups and to VCA control
from any combination of the 2 motorised grand master faders. A safe switch is again included for
each group. The input for the groups is normally derived from the 16 group busses but for monitor
applications the fader change over routes the 16 mono aux busses to the group faders.
Line inputs.
A separate Hi Z line input with its own dedicated gain control is incorporated which is ideal for
playback of recorded material. Global change over from mic (record) to line (playback) is easy
because it is under automation control.
Equaliser.
The sonic performance of the legendary XL3 equaliser is maintained including the full parametric
mid's and traditional Midas bass and treble shelving responses. In addition the treble and bass
sections now have an extended frequency range and are switchable to full parametric operation.
Inserts.
Each channel has a half normalised fully balanced insert send and return point which can be
switched in or out from the front panel and set as either pre or post equaliser.
Input metering.
These peak reading meters cover a 60dB range in 3dB steps and can be switched globally to
monitor pre fader signals or pre insert and equaliser signals.
Audio busses.
Each channel can be routed to any combination of 42 audio busses comprising of 16 mono aux'es, 8
stereo aux'es, 16 stereo groups and 2 stereo masters. All this is switchable on the module front
panel but also via the automation control.
VCA and mute busses.
Each channel can be controlled by any combination of the 10 motorised VCA master faders and 8
mute masters. Assignment of these busses is again switchable on the module front panel or by the
automation control. A safe switch disconnects the channel from all mute groups and an isolate
switch removes the channel from all VCA control.
Group aux inputs.
An additional 16 inputs with treble and bass equalisation can be routed directly to the groups or via
a pan to the masters mix and can be further controlled by assignment to any of the 10 VCA masters.
Master.
The stereo master module provides the main left and right console outputs plus 4 more record
outputs and a mono output. A solo to master facility is incorporated on the left, right and mono
outputs to aid the engineer at sound checks.
Matrix.
As standard the 8 matrix outputs derive their signals from the 16 audio groups, left and right
masters creating a 18 X 8 matrix. The module also houses the stereo aux masters which have their
own outputs at all times but which can be routed directly into the matrix giving an additional 48 X
8 matrix sourcing direct from the input channels.
Output meters.
28 peak reading meters (each covering a 60dB range in 3dB steps) are used to monitor all the main
outputs i.e. 16 groups, 8 matrix, 2 masters and 2 local outputs. They and can be switched globally
to monitor pre fader or post fader signals and can also be used to monitor the 24 aux outputs.
Automutes.
The 8 automute masters can be assigned to any input or audio group and act on pre fader and post
fader signals. Apart from assignment the operation of these mutes is entirely independent of the
automation system.
10 input VCA faders.
10 motorised VCA master faders control the channel and aux inputs whilst a further 2 VCA grand
master faders control the audio groups. Each VCA master has a solo switch which gives the
engineer an opportunity to monitor the signals within the VCA subgroup. Also incorporated is a
VCA mute which act on post fader signals only and effectively adds a further 12 automute scenes to
the existing dedicated automutes.
Automation.
The automation system can store and recall up to 2000 scenes. All channel routing and major
functions are automated as well as all major output mutes. The 12 motorised VCA master faders
give dynamic control of signal levels within the console and all automation information can be
exported or imported in a variety of different mediums for storage or console and system linking.
XL4 Specification Overview and Statistics.
1. The XL4 is a 45 buss console with an additional 18 X 8 output matrix. The busses are as
follows:-
16 mono aux = 16
16 audio sub groups = 16
4 stereo aux = 8
1 stereo master = 2
1 stereo AFL = 2
1 mono PFL = 1
TOTAL = 45
2. The XL4 has 8 automute sub groups, 10 input channel VCA sub groups which include VCA sub
group muting and 2 grand master VCA sub groups with VCA sub group muting.
3. The XL4 has 48 input channels with separate line and mic inputs plus an additional 16 aux line
returns.
4. The XL4 has a total XLR input count of 171 as follows:-
48 channel line inputs
48 channel mic inputs
24 aux bus inject inputs
16 audio group bus inject inputs
16 aux line returns inputs
8 matrix bus inject inputs
3 solo bus inject inputs
2 master bus inject inputs
1 comms mic input ( headset )
1 comms input ( and output )
1 talk mic input
1 talk bus inject input
1 midi input
5. The XL4 has a total XLR output count of 111 as follows:-
48 input channel direct outputs
24 aux outputs
16 audio group outputs
8 matrix outputs
4 record outputs
3 master outputs
3 solo outputs
2 local outputs
2 midi outputs
1 talk output
6. The XL4 has a total bantam jack field count of 158 as follows:-
56 input channel insert sends ( 8 spare for stereo module up grades )
56 input channel insert returns ( 8 spare for stereo module up grades )
16 audio group insert sends
16 audio group insert returns
8 matrix insert sends
8 matrix returns
8 parallel links ( 2 sets of 4 )
3 master insert sends
3 master insert returns
7. The XL4 has 12 motorised moving faders for the VCA masters.
8. The XL4 has a total of 2539 automated switch functions as follows:-
960 input channel aux send on off switches
480 input channel VCA sub group assign switches
384 input channel audio sub group assign switches
384 input channel mute sub group assign switches
48 input channel EQ on off switches
48 input channel stereo master on off switches
48 input channel phase switches
48 input channel insert on off switches
48 input channel mic line switches
48 input channel mute switches
16 audio sub group mute switches
16 aux line return mute switches
8 matrix mute switches
3 master mute switches
9. The XL4 has a total of 77 peak program meters with 20 LED segments each and monitoring 282
signal points within the console.
XL4 Technical Specification.
Input Impedance Mic 2K Balanced
Line 20K Balanced
Input Gain Mic Continuously variable from
( all faders at 0dB ) + 15dB to + 70dB
Mic + Pad Continuously variable from
- 5dB to + 50dB
Channel Continuously variable from
Line Input - 20dB to + 20dB
All other Line Inputs 0dB
Maximum Input Level Mic + 6dBu
Mic + Pad + 26dBu
Channel Line inputs + 26dBu
All other Line Inputs + 21dBu
CMR at 1KHz Mic ( gain + 60dB ) > 70dB
Mic + Pad
( gain + 40dB ) > 50dB
Line > 60dB
Frequency Response
( 20 to 20KHz ) Mic to Mix
( gain + 60dB ) + 0dB to - 1dB
Line to Mix + 0dB to - 1dB
Noise ( 20 to 20KHz ) Mic EIN ref. 150 Ohms
( gain + 60dB ) - 129dBu
Line EIN ref. 150 Ohms
( gain + 10dB ) - 100dBu
System Noise Summing Noise
( 20 to 20KHz ) ( 12 channels routed
with faders down ) - 86dB
Line to Mix Noise
( 12 channels routed
at 0dB, pan centre ) - 81dB
Summing Noise ( 48 channels routed
with faders down ) - 80dB
Line to Mix Noise
( 48 channels routed
at 0dB, pan centre ) - 75dB
Distortion at 1KHz Mic to Mix ( + 60dB
gain, 0dBu output ) < 0.03%
Line to Mix ( 0dBu ) < 0.03%
Crosstalk at 1 KHz Channel to Channel < - 100dB
Mix to Mix < - 90dB
Channel to Mix < - 90dB
Maximum Fader
attenuation > 90dB
Output Impedance All Line Outputs 50 Ohms Balanced Source to
drive > 600 Ohms
Headphones To drive > 8 Ohms Unbalanced
Comms ( Bi - directional ) 600 Ohms Nominal Unbalanced
Maximum Output Level All Line Outputs + 21dBu
Headphones + 21dBu ( 8W into 8 Ohms )
Comms ( Bi -
directional ) - 10dBu
Nominal Signal Level Mic - 70dBu to + 5dBu
Channel
Line Inputs - 20dBu to + 5dBu
All other Line
Inputs and outputs 0dBu
Headphones + 10dBu
Comms - 20dBu
Comms and Talk Mic - 50dBu to - 20dBu ( auto gain )
Headroom at all stages Comms, Talk
and Headphone > 10dB
All other signals > 20dB
Metering Type 20 led peak reading
Range - 36dBu to + 21dBu
Colour Green Up to + 9dBu Normal signal
Colour Yellow + 12dBu to + 15dBu High signal
Colour Red Over + 18dBu Signal Too High
Quantity 77 ( Monitoring all main
Inputs and outputs )
Equaliser Low pass slope 12dB / Oct.
Low pass frequency Continuously variable
- 3dB point from 1K to 40K
Hi pass slope 12dB / Oct.
Hi pass frequency Continuously variable
3dB point from 10Hz to 400Hz
Treble Gain Continuously variable
+ 15 dB to - 15 dB
Centre detent = 0dB
Treble Shelving Freq. Continuously variable
- 3dB point from 1K to 20K
Treble Bell Freq. Continuously variable
centre from 1K to 20K
Treble Bell Bandwidth Continuously variable
0.1 Oct. to 2 Oct.
Centre detent = 0.5 Oct.
Hi Mid Gain Continuously variable
+ 15 dB to - 15 dB
Centre detent = 0dB
Hi Mid Freq. Continuously variable
centre from 400Hz to 8K
Hi Mid Bandwidth Continuously variable
0.1 Oct. to 2 Oct.
Centre detent = 0.5 Oct.
Lo Mid Gain Continuously variable
+ 15 dB to - 15 dB
Centre detent = 0dB
Lo Mid Freq. Continuously variable
centre from 100Hz to 2K
Lo Mid Bandwidth Continuously variable
0.1 Oct. to 2 Oct.
Centre detent = 0.5 Oct.
Bass Gain Continuously variable
+ 15 dB to - 15 dB
Centre detent = 0dB
Bass Shelving Freq. Continuously variable
3dB point from 20Hz to 400Hz
Bass Bell Freq. Continuously variable
centre from 20Hz to 400Hz
Bass Bell Bandwidth Continuously variable
0.1 Oct. to 2 Oct.
Centre detent = 0.5 Oct.
XL4 INPUT BLOCK DIAGRAM
pre fade pre
pre ins. & eq. XL401 INPUT MODULE
DIRECT BLOCK DIAGRAM ON
OUTPUT AUXILIARY
TO POD 0 SEND
1 OF 16
+6
+10 INS aux 1
direct o/p insert
INPUT
FROM POD pre eq +
+
INSERT POINT
-
_ c
SEND RETURN pre
ON
EQ
l
pan r 0
STEREO
AUXILIARY
TEST SEND
INPUT +6 1 OF 4
(SERVICE st aux 1&2
USE ONLY)
ST STEREO
MASTERS
SEND
FOUR BAND FULLY PARAMETRIC EQUALISER
0 0 0 0
width width width width mute STEREO
6 6 0.3 1 6 6 0.3 16 6 0.3 16 6 0.3 1 GROUP
SEND
0.1 2 0.1 2 0.1 2 0.1 2 FADER START RELAY 1 OF 8
+/- +/- +/- +/-
15 15 15 15 15 15 15 15
bass lo-mid hi-mid treble SOLO
60 160 300 800 1k 3k 3k 8k
SWITCH
SOLO LEFT
PRE FADER bell
bell 100 freq 2k 400 1k freq 20k SOLO RIGHT
SIGNAL 20
freq
400 freq8k
TO POD PRE FADER
LISTEN
VCA FADER
1
PHANTOM GAIN HI-PASS LO-PASS MIC / LINE
SELECT PHASE 1&2
+25 +35 FILTER FILTER 1
30 100 3k 10k REVERSE 2 5
48V /
O 3&4 2
3 1&2
10 400 1k 40k
ASSIGN SWITCHES 0
TRANSFORMER +15 +70
hi-pass lo-pass line 5&6 1 3
BALANCING mic MAY FUNCTION IN
OPTION
4 3&4
ANY ONE OF THREE
7&8 2 5
WAYS AS SHOWN. 4
5 FUNCTION IS 5&6
-20 - 9&10 DEPENDANT ON 3 5
6 ASSIGN MASTER 7&8
11&12 SWITCHES. SOLO
4 6
0
0 CLEAR
+21
+18
7 9&10 solo
TRANSFORMER +15 13&14 AUTOMATION
5 7
BALANCING +12
OPTION +9 METER PRE 8 11&12
-20 +20
+6 15&16 iso 6 8
+3
0 9 13&14
-3 MUTE
-6 7 9
-9 10
-12
15&16
PEAK -15
-18
-21
group
assign
safe 8 AUDIO
GROUP
10
switches VCA
TRANSFORMER -24 MUTE