Oh Guru of Sound,

I appreciated reading your review of the Midas Venice in the July 2002 issue of Onstage. I have a home recording studio and am considering the Venice 360, which will be used to record on a two-inch 24-track analog recorder. I record only a few tracks at a time (myself), usually no more than 2-3. From what I can gather, the Midas seems to be a fine board, but not being an engineer myself, I'd appreciate your opinion on the Midas Venice concerning the following questions.

1. Are the length of the faders (60mm) as issue from a recording standpoint? I ask this only because the mixer I have now has 100 mm faders.

It's a feel thang, whether for recording or sound reinforcement. The Midas has good linearity, but it's an issue of the nimbleness of your fingers vs. the fussiness of your ears. If you manage the gain structure, you should be able to keep the fader near the center of its travel where the dB to travel ratio is low.

2. I didn't note a phase reverse switch on the mixer channels. Is this an issue if one records in M-S stereo using a figure eight mike with a cardiod, or in other stereo means, for say recording an accoustic guitar or instrument?

It's a big issue for M/S, unless you have an external decoder, as phase, actually polarity is how M/S is decoded. It's often a good idea to try flipping polarity if you're multi-miking or mixing mic and DI.hearing a problem.

3. If I read correctly, both the line inputs and the microphone inputs on the four stereo channels can be used at the same time, i. e. the microphone inputs could be used for say, a shaker or tamborine, while the line inputs are used for a reverb unit, both at the same time. Am I reading this correctly?

Sorry, I don't remember. Try going to Midas' website and downloading the manual. >

Thanks very much for your time. I can spend around $5,000 toward a mixer and am looking at both the Midas 360 and Allen & Heath's GL2800 series. If you have comments relative to a comparison of these two, or suggest possibly some other makes to consider, I'd certainly appreciate them too.

• Best regards,
  Jimmy Bonner

O Guru of Sound,

I need your advice: I own a Midas Venice 160 and wish to change the Monitor and AUX sends to Post-EQ?

• Many Thanks
  Simon Clarke

Allen

Many thanks for the prompt response.

My soldering is not up to much these days. But the desk is still under warranty. I have booked it in for the snip.

• Many thanks again
  Simon Clarke

Hi I read your article on TC m one xl. I just purchased it and I'm feeling way overwhelmed. I have a show this Friday and I'm a little nervous about finding a sound I like. I'm the lead singer in a Christian hard rock band. I like my vocals to sound real big and bright. A creed, 12 stones like sound! In the past I've found that magic by using some detune and delay I've been able to get the real fat and bright sound I've liked. This was using lexicon effects but I heard so much about m one xl I thought I must have. Now I'm over whelmed. I can't get any sound I like. I have no clue as to what routing option to use. Advice? All the effects sound like they have way to much low end, bass. How do I eq the effects? I hope I have it set up right into my board of course the manual never discusses that! Advice? Any help would be so greatly appreciated. I'm clueless at this point!

• Thanks in advance
  Bill ~ Massillon, Ohio

O Guru of Sound,

I read your article on Driverack PA it's very informative.... I need your professional input!~In your article..You stated the PA would not work with some mixers...Will it work with mine? I'm inexperienced with this new technology systems..My situation Is..I have ordered a DBX 260.. to be incorporated with a Mackie CFX 12 Mixer, SRM 450 for monitors.. SA 1521 for mains..I want to EQ monitors AND EQ a different setting for mains...will I be able to do this? ( I set up this equip in different church events) P.S. I also want to get started in copying my religious/services onto a hard drive then making CD's ......any advice as to units needed. that would be compatible with my present system. thanks for your efforts put forth in helping this preacher/singer Have a blessed day.

• Awards

Ahoy Awards,

My answer here is somewhat conditional, as I'm not familiar with the feature set of the 260, but the principles should apply. The caveat of which I wrote involves powered mixers (mixers with the power amp or amps built in). In order for the DriveRack to properly do its thing it must be inserted in the signal path between the mixer outputs and power amp inputs. Many powered mixers have a patch bay or patch points which allow you to do this. However, the input jack(s) to the power amp(s) must be the switching type, which disconnect the internal connection when a plug is inserted. If it is a simple jack with no disconnect, the processed signal, having passed through the DriveRack, will arrive at the amp mixed with the unprocessed signal, which will mitigate the effect of the processor to the point of uselessness. Since you are using a separate mixer into powered speakers, you will not encounter this problem.

However, using one unit for both the mains and monitors can be a problem. Remember, I'm not specifically familiar with the 260, so you'll have to work with me here. The main and monitor outputs of your mixer provide separate mixes, which travel separate signal paths to the appropriate amp/speaker combinations. Each mix will certainly want to be processed differently from the other. Therefore, you need to be able to configure and operate each channel of the 260 separately. You must also be able to work with each channel one at a time, particularly if you intend on using the mic input and the automatic EQ feature - you need to EQ your mains and monitors separately. If the 260 is a 2 channel unit you can only process two channels of audio at a time, so if you are running stereo mains that leaves nothing over for the monitors. Similarly, if you are sending more than one monitor mix a single unit is probably not enough.

Why are you considering the 260, rather than the DriveRackPA? If I understand the product hierarchy correctly, the 260 can be networked into a large system, whilst the PA is for discreet, smaller systems. Your best bet may be to get 2 PAs, assuming that you're running stereo mains and one monitor mix.

In any event, I suggest that you go to the dbx website and examine the feature set of each of the members of the DriveRack line in light of the considerations I've outlined here, in order to make the appropriate choice. Remember that you need the same independence between channels whether you are trying to process one main and one monitor mix, or two monitor mixes. There is probably an email path into dbx via their website wherein you can ask dbx about the these considerations and the appropriate unit for your application if careful study of the web-published information (you can probably download the owners manuals) fails to make it clear.

If you want to record off your mixer outputs onto hard drive, the only choice in a stand-alone unit is the Alesis MasterLink. You can also set up a recording system based around a laptop or desktop computer, but that's outside my areas of greatest expertise, and you should seek advice elsewhere. I'd say, though, that the MasterLink is easier to setup and use, and if you only want to archive the services, and not do multi-track recording, extensive editing, or drastically modify the recordings, the MasterLink is your best choice.

Good luck. Let me know what you do and how it turns out.

• TGOS

O Guru of Sound,

I read your review of the Midas Venice 160. Have you any expiereince with Soundcraft 324-Live? My wife and I own small rest/club in Fullerton, California (seating capacity 150) and are looking for a mixer for DJ and Live applications. I'm thinking between the Venice 240 or the Soundcraft 324. What do you think?

• Mike of Fullerton, Ca.

Ahoy Mike,

I'm not specifically familiar with the Soundcraft, but I think it's part of the Spirit line. For myself, I'd get the Midas. BTW, DJ boards have some specialized features and, whichever primary mixer you choose, I'd get a DJ board as a submixer. Better yet, screw the DJ and hire more live musicians.

Have you looked at the Crest x-Rack series? Check out my review of the XR-20. I cried when I sent it back.

Good luck. Let me know how it turns out, and give my regards to Fender Ave.

• TGOS

O Guru of Sound,

I need your advice: Should I buy the Crest XR-20 or the Midas Venice 160? I'll be using it primarily for live vocals; I've never heard either, but I like "airy", crispy and warm sound. I read your review on the Crest. Also, I intend to get a Lexicon PCM91 reverb unit to use with it. Is this a good match, or do you recommend a different reverb for these mixers?

Thanks!

• Paul

Ahoy Paul,

I don't think that you can go terribly wrong with either - they are both superb, but each has it's own personality. I'd say the Midas is a tad warmer, and it's a tossup for airiness. The Midas EQ is more surgical, a bit more powerful, but it is easier to misuse than the Crest EQ, which never seems to make things sound "bad" no matter how you tweeze it. The Midas seems to have a special connection to bass - subjectively the bass quality is upgraded in a similar manner to what would happen if you got a better, not more powerful, amp for your subwoofers.

The Crest is a much more practical item: it's less expensive, has a much more extensive feature set particularly cool for multi-tasking, and is easier to move (it will fit, and practically demands an SKB popup rack). It is designed so that two XR-20s can be elegantly and conveniently combined if you need more inputs. I just don't remember if the Midas has all the aux bus sub inputs that allow this, but I'm pretty sure that it doesn't have the connectors to gang the solo systems as does the Crest - look up my review of the Midas online or go to their website.

You pretty much pay your money and take your choice. I wanted to buy each when I had it in my hot little hands (actually I wanted a Venice 240) and almost cried when I had to send the Crest back, but the Midas has more cachet (helpful if you hire out sound) and a little extra touch of magic to the sound.

The Lex will work in either case.

Good luck, and let me know how it works out.

• TGOS

O Guru of Sound,

Can I buy adaptors for 1/4 inch and use the tc electronic m-one xl with my mesa boogie's effects loop for live app? don't understand why only the S/PDIF connectors? And is this unit richer and cleaner than the lexicon mpx 550?

Thanx so much,

• Romantic Angel, Spanish New Age Guitarist

Ahoy Angel,

There are a couple of ways to go. I don't know what is available pre-made in your area (are you in Spain, of Spanish descent, or is your new age music Spanish styled?), but if you build or otherwise obtain 1/4" to XLR adaptors they should be connected with pin 2 going to tip, and pins 1 and 3 connected to sleeve/shield/ground. If you are careful and adjust your input and output levels appropriately this will probably do the job. Since you have onlne access, you should be able to download owners manuals and/or specifications regarding operating levels and impedances to see if both devices are in the same compatibility bullring.

You could also use line matching transformers such as those manufactured by Shure or Sescom to match the impedances and signal levels, and to balance the signal going to the M-One, and convert it back to single ended for return to the Boogie.

The S/PDIF connectors are not the only ones. For your application you'll want to use the XLRs for analog I/O. The S/PDIF connectors allow communication with other digital devices without leaving the digital domain, thereby avoiding extra D/A and A/D conversions and the resulting quantizing error. I use the S/PDIF route to connect my M-One XL to a Roland VS-2480 workstation.

Richer and cleaner. That's pretty darned subjective and you should really audition both and decide for yourself. The two have very different flavors, the M-One perhaps airier and the Lex thicker. In general, I'd say that I reach for the TC first when working with voices, but my LXP-1 with MRC (I don't run right out and replace every piece of gear with the "latest and greatest") has a sweet shimmer to the reverb tails that I find irresistable when working with (stringed) harps, which I often do. What I prefer most about the M-One is the human interface - the available parameters are more understandable and make it easier to predict the results while programming sounds.

Let me know how things work out.

• TGOS

It's Me again O Guru,

I am putting a one man band together here in Destin FL. pre-programming the backround sounds using the triton studio.. spiritually romantic with a soaring spanish like flavor.. very different, mixing the nature sounds with it. Still saving for the triton though. But in the meantime I am focusing on the ultimate electric acoustic nylon sound. The mesa F-50 sounds great with a harp-like quality to it. Using a t.c chorus and some roloand stuff for delays although the old roland reverb sounds very mechanical and cold. So I thought for the money the T.C. M-One XL would be the way to go. Looking for big, warm, lush, silky, transparent infinite reverb.. another word comes to mind.. hauntingly beautiful. Here's My big concern. I want to use it with my effects loop. Do I get a XLR female to ¼ and a XLR male to 1/4.. unbalanced since I am not running the amp in stereo. I will be miking it and pumping it through my JBL system. I am a bit lost when you said .. "1/4" to XLR adaptors should be connected with pin 2 going to tip, and pins 1 and 3 connected to sleeve/shield/ground.

Check specifications regarding operating levels and impedances to see if both devices are in the same compatibility bullring.

You could also use line matching transformers such as those manufactured by Shure or Sescom to match the impedances and signal levels, and to balance the signal going to the M-One, and convert it back to single ended for return to the Boogie."

I thought it was as easy as getting the adapters.. do you know who I can call .. a T.C TECH? I need to speak with a human being to make sure I can use this unit.. I want to buy it .. now before I do something stupid with my tax return. lol

Thanx so much

• Romantic Angel

Dear Angel,

This is one of those times when you must rely on your own resources. It is as easy as buying the adaptors, but you have to make sure that they are the right adaptors unless you have great success trusting to luck There are techs/engineers in your area who need work. Yellow pages, bulletin boards, colleges, music paper ads, referrals from other musicians. You have to choose whether you want to pay a local sound tech/engineer to do the hookup for you, or whether you engage your brain and actually learn something. If you don't want to start learning what amounts to Audio 101 you have to face life either as an employer or as an extremely frustrated performer. XLR connectors have three pins which attach to different conductors in the wire. They are numbered on the connector, and there is a standard so that the numbers are always the same. The parts of a 1/4" connector have names. This stuff IS easy if you put a little of yourself into it. Do a Google search. Go to the library. Read EQ, Electronic Musician, Pro Audio Review, lots of manufacturers brochures and, for goodness sake, the OWNERS MANUALS for all the gear you buy (many owners manuals can be downloaded from their manufacturers websites). Most Owners Manuals have detailed hookup instructions. If you don't understand these, stay with it until you do.

Good luck,

• TGOS

O Guru of Sound,

I have the DBX Driverack, however where is the best place to put the RTA mic when setting up? The reason I ask this is that I run a 3 way stereo system , and have the driverack in the same rack as the 3 power amps. DBX said I should plug the mic directly in the unit, but that would mean the mic is behind the speaker system, right? My thinking is I put in on a stand in the center of the room with the usual mic lead to the driverack... What do you think?????????????

thanks

• Gerry Winnipeg

Ahoy Gerry,

I think that your interpretation of "directly into the unit" may be a bit too literal. In this case you can substitute "without interposing a mixer, preamp or any sort of processor". A mic cable or two is OK.

The center of the room can be good, particularly in a regularly shaped room, or where the center represents the greatest audience concentration. I've had success putting the mic at the mix position, particularly when the mix is right behind the orchestra seating. If your system is stereo, you might try where the speakers are focused for best stereo image.

Another approach would be to pink the room at several locations, using the DriveRacks memories to save the setup for each. Then, have an assistant play a CD which is fairly full-range (solo ukelele recordings need not apply) and of which you know every note, and scroll through the stored EQ settings while you walk the room, and determine which setting gives the best results over the largest portion of the room.

I'd probably rack up the DriveRack at the mix position, rather than at the amp racks, even though it would use up a lot of snake (multicore) returns. That way I could manually update compression and EQ (while listening to FOH) settings to account for changes in the music (get the bluegrass band off and the death metal on) or environment ( you do know that the speed of sound, and thus everything else changes with temperature, humidity, air pressure, and what everyone had for lunch) on the fly.

Do please let me know if this helps.

Listening to you,

• TGOS

O Guru of Sound,

Where do you get off calling yourself the Guru of Sound, anyway? What ashram did you study sound at? What makes you think you’re so smart?

• Doubting Urban Haranguer