A Midas console designed for small venues and mobile systems.

The Midas Venice 160 Analog Mixing Console sets a new standard in compact mixing consoles. Venice is Midas' first truly compact console built in response to customer demand. It does exactly what was asked for by providing high-quality sound for smaller conference or live-band applications, as well as effects returns or additional inputs in large, multi-console setups. It's or as part of a small, complete mobile system. It's also ideal for live acts that need to mix their own FOH and monitor sound from the stage and is compact enough to fit in cramped quarters.

Midas has paid attention to the details that set their consoles apart, taking care to provide high quality mic preamps and a stable, responsive EQ section, just as they do on their larger consoles. The simple yet intuitive outputs make overall configuration of the console extremely quick and easy.

Legendary Midas Sound
A console's sound can only be as good as its mic preamps. The Venice uses an updated version of the groundbreaking Midas XL3 microphone preamp with "long-tailed pair" circuitry. This gives Venice preamps ample headroom and gain for both mic and line-level signals without any pad or range switching.

Frequency response and distortion
For natural sound, a console must handle a very wide frequency range with the lowest possible distortion. Venice has a maximum input of +22dBu, enabling it to deal with the hottest line signals in a 15Hz- to 100kHz- frequency range. High-value EMI suppression filters shelter the signal path from external noise.

Venice EQ Pure Performance
Audio pros know it's not the number of pots that make an EQ section, it's the audible result. Accurately controlling and fine-tuning signals in the most musical way possible is crucial. Great EQ also provides the processing power to create personalized soundscapes without unwanted side effects. With Midas, the HF and LF filters won't interfere with the mid-band frequencies. All filters keep their gain regardless of frequency settings, and +/-15dB on a gain potentiometer means exactly what it says.

Highest Quality Components
World-class audio performance requires first-class components with minimized tolerances. This means two identical signals will sound equal regardless of which channel they are fed into.

First-Class Electromechanical Parts Used Throughout
Pots, knobs, switches, connectors and faders—these components must work hard throughout the life of the console despite being constantly exposed to heat, moisture, cold, dust, and heavy mechanical usage. Venice uses only pots and faders with metal shafts from Alps and connectors from Neutrik, ensuring low maintenance and total reliability.

Clear and Straightforward Layout
Midas's "dedicated to live production" approach means the design layout of Venice is optimized for quick and easy control. Every function is placed where it should be, easy to find, operate, and read even at low light levels though connectors for two desk lamps are included.

Gain Structure and Output Signals
All controls on Venice that affect actual output levels feature a center position at 0dB with range from minus infinity to plus 10dB (enough to make any output signal more than twice as loud than at the 0dB position). This allows you to see at a glance whether a signal is really boosted or just adjusted to the overall mix. Additionally, all speaker outputs have balanced XLR connectors, protected by relays to protect speakers should the Venice be accidentally switched off during use.

Midas Venice 160 16-Channel Analog Mixer Features:

• Channels: 16
• EQ: 4 band sweepable
• Direct Output
• 6 Mix Sends
• 4 Audio Sub Groups
• 2 stereo masters
• Venice 160 will fit in a 19" rack and is shipped including the rack-mounting kit
  
  Inputs (total): 30
• Mono-Inputs (Mic/Line) with Inserts: 8
• Stereo-Line/Mono-Mic-Input Channels: 4/4
• Stereo-Effect-Returns (Line): 4
• Stereo-Tape-Return (Line): 1 left/right
• Busses: 15
• Subgroups: 4
• Aux Pre-Fader (Monitor): 2
• Aux Post-Fader (Effects): 2
• Aux switchable Pre/Post-Fader: 2
• Master L/R: 2
• Mono-PFL: 1
• Stereo-AFL: 2
• Output
  
• Subgroups (with Inserts): 4 impedance balanced 1/4 inch jacks
• Aux Pre-Fader (Monitor): 2 XLR (balanced)
• Aux Post-Fader (Effects): 2 impedance balanced 1/4 inch jacks
• Aux switchable Pre/Post-Fader: 2 XLR (balanced)
• Master (with Inserts): 2 XLR (balanced)
• Master B Out (switchable Mono/Stereo, pre-post Fader): 2 XLR (balanced)
• Tape Send (Recording): 1 Stereo (Phono)
• Direct Outputs (1/4 inch Jack): 8
• Stereo-Headphones: 2 Stereo-1/4 inch jack
• Stereo-Speakers: 2 impedance balanced 1/4 inch jacks
• Dimensions (W x D x H): 19.3" x 22.4" x 7.6" (490 mm x 568 mm x 194 mm)
• Weight: 36.2 lbs (16.4 kg)
• Power Consumption: 75W
• Mains Voltage: 110V/120V/220V/230V/240V, 50-60Hz
• Additional Features:
  
• Connector for desk lamps: 2 x 12V/5W (4-Pin XLR)
• 19"-rack-mounting- kit: yes
• Rotatable connector panel: yes
  
  Accessories:
  
• Dust Cover: included
• 12 V Desk Lamp: not included
• Input Transformer: not included

Midas Venice 160 16-Channel Analog Mixer Includes:

• dust cover

Midas consoles are considered by numerous top FOH engineers to offer the best combination of sound quality, ergonomics, and features.

Midas Venice 160 16-Channel Analog Mixer Specifications:

• Input Impedance: Mic - 2k Balanced, Line: 20k Balanced
• Input Gain: Mic - Continuously variable from 0dB to + 60dB, Line Mono Channel - Continuously variable from- 20dB to + 40dB, Line Stereo Channel - Continuously variable from- 20dB to + 20dB, Line Level Inputs - 0dB
• Maximum Input Level: Mic: + 22dBu, Line Level Inputs: + 22dBu, Line Mono Channel + 42dBu, Line Stereo Channel + 28dBu
• CMR at 100Hz: Mic (gain + 40dB) Typ. 75dB
• CMR at 1kHz: Mic (gain + 40dB) > 85dB, Line > 45dB
• Frequency Response (20 to 20kHz)(gain + 60dB): Mic to Mix: + 0dB to - 1dB
• Noise (20 to 20kHz) (gain + 60dB): Mic EIN ref. 150ohms: - 129dBu
• System Noise (20 to 20kHz): Summing Noise (16 channels routed with faders down) - 90dBu; Line to Mix Noise (16 channels routed at 0dB, pan centre) - 86dBu
• Distortion at 1kHz: Mic to Insert (+ 30dB gain, + 20dBu output) - Typ 0.0007%, Mic to Mix (+30dB gain, + 20dBu output) - < 0.009%
• Crosstalk at 1kHz: Channel to Channel < - 80dB, Mix to Mix < - 80dB, Channel to Mix < - 80dB, Fader Attenuation > 100dB, Switch Rejection > 100dB
• Output Impedance: All Line Outputs - 75 Ohms Balanced Source, Headphones - To drive 32 Ohms
• Maximum Output Level: Master Outputs on XLR: + 25dBu, All other Outputs on XLR: + 22dBu, All Outputs on 1/4 inch jacks :+ 22dBu
• Headphones: + 22dBu/600ohms
• Nominal Signal Level: Mic - 60dBu to 0 dBu; Line 0dBu
• Equalizer Mono Channel
  
• Hi Pass Slope: 12dB / Oct
• Hi Pass Frequency: 80Hz
• Treble Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
• Treble Frequency: 12k
• Hi Mid Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
• Hi Mid Frequency: Continuously variable, 400 Hz to 8k, Hi Mid Bandwidth: 1.4 Oct. (Q = 1)
• Lo Mid Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
• Lo Mid Frequency: Continuously variable, Centre from 100Hz to 2k
• Lo Mid Bandwidth: 1.4 Oct. (Q = 1)
• Bass Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
• Bass Shelving Frequency: 80Hz
  
  Equalizer Stereo Channel
  
• Hi Pass Slope: 12dB / Oct
• Hi Pass Frequency: 80Hz
• Treble Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
• Treble Frequency: 12k
• Hi Mid Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
• Hi Mid Frequency: 3k
• Hi Mid Bandwidth: 1.4 Oct. (Q = 1)
• Lo Mid Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
• Lo Mid Frequency: 300Hz
• Lo Mid Bandwidth: 1.4 Oct. (Q = 1)
• Bass Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
• Bass Shelving Frequency: 80Hz