High-end quality in a live-sound design.

Midas Venice 240 Analogue Mixing Console sets new standard in compact mixing consoles. Venice is Midas' first truly compact console built in direct response to customer demand. It does exactly what was asked in that it provides a high quality alternative in a huge number of applications where previously Midas was not an option. These range from smaller conference or live band applications, to effects returns or additional inputs in a large multi-console application, or as part of a small complete mobile system. It also provides the perfect feature set for live acts who need to mix their own FOH and monitor sound from on-stage, and is compact and light enough to fit on even the most cramped performance area.

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 but intuitive outputs make the overall configuration of the console extremely quick and easy to use.

Legendary Midas Sound
The overall sonic performance of any console can only be as good as the incoming signal interfaces, namely the microphone pre-amplifier. Midas consoles always incorporate the very best microphone pre-amps available. Venice uses an updated version of the ground-breaking Midas XL3 microphone pre-amp, which uses Midas own "long-tailed pair" circuitry. This means that the Venice pre-amp has ample headroom and gain range to accept both microphone and line-level signals without any pad or range switching.

Frequency response and distortion (a 'hot' issue)
To retain the natural qualities of many different sorts of input signals, a console must be able to handle incoming signals across a very wide frequency range with lowest possible distortion. The maximum input capability of Venice is +22dBu, enabling the console to deal with even the hottest line signals within a 15Hz- to 100kHz- frequency range. High-value EMI suppression filters shelter the signal-path from unwanted external noise, one of the fundamental Midas design specialities.

Venice EQ Pure Performance
Leading audio professionals all over the world confirm: it's not the number of pots that make an EQ section, it's the audible result, the ability to accurately control and fine-tune audio signals in the most musical way possible. Great EQ also provides the creative processing power to create personalized soundscapes without any unwanted side-effects. For instance, this means that 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. The Venice EQ is what thousands of Midas owners and users expect from Midas products: pure performance.

Highest Quality Components
The world-class audio performance expected of a Midas can only be achieved by using first-class components with minimized tolerances. There is no other way to do it: The operational benefit is that two identical signals will sound equal regardless of which channel they are fed into.

Midas Venice -first-class electromechanical parts throughout:
Pots, knobs, switches, connectors and faders. These components work hard throughout the long life of the console, and are 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 first class reliability.

Clear and Straightforward Layout
All console manufacturers have their own philosophy of control surface design and layout. While Venice can certainly be used for recording, Midas's "dedicated to live production" approach means the design layout of Venice is optimized for quick and easy control. Every function is exactly placed where it should be, easy to find, operate and read even at low light levels (though connectors for two desk lamps are fitted as standard). Venice provides the right feature set for all live applications: very clear and straightforward, and easy to reach despite the high density of controls.

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 the user to see at a glance whether a signal is really boosted or just adjusted to the overall mix. Additionally, all outputs that would typically be linked to loudspeakers via amplifiers are fitted with electronically balanced XLR connectors, protected by relays. This provides ultimate protection for the loudspeakers should the Venice be accidentally switched off during use. Redundant Power Supply - maximum safety:
Large Midas consoles are always equiped with two power supplies for redundancy. While space limitations in Venice consoles allow the inclusion of only one power supply, an external redundant power supply, the EPS1200 (not included), is available as an accessory for the Venice 240. In the unlikely event of a failure of the internal power supply, the external power supply guarantees interruption-free use of these consoles.

Midas Venice 240 24-Channel Analog Mixer Features:

• Channels: 24
• Inputs (total): 38
• Mono-Inputs (Mic/Line) with Inserts: 24
• 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): 16
• Stereo-Headphones: 2 Stereo-1/4 inch jack
• Stereo-Speakers: 2 impedance balanced 1/4 inch jacks
• Dimensions (W x D x H): 27.5" x 22.4" x 7.6" (698 mm x 568 mm x 194 mm)
• Weight: 46.5 lbs (21.1 kg)
• Power Consumption: 95W
• Mains Voltage: 110V/120V/220V/230V/240V, 50-60Hz
• Additional Features:
  
• Connector for desk lamps: 2 x 12V/5W (4-Pin XLR)
• External Power Supply (EPS 1200): not included
  
  Accessories:
  
• Dust Cover: included
• 12 V Desk Lamp: not included
• Input Transformer: not included

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

Midas Venice 240 24-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