MIDAS HD96-24-CC-TP: Quick Start Guide

1. Introduction

Welcome to the HD96-24 Digital Mixing System. The HD96-24 represents a direct evolution of Midas's live sound experience, engineered for the modern live sound engineer without compromise.

Designed from the ground up, the HD96-24 system is a new approach to mixing and interacting with Midas mixing consoles, while retaining the renowned uncompromising sonic quality. New forward-thinking ideas, including a large touch screen control, modern multi-touch gesture control with independent widget-style areas, and the Midas mCloud system to help manage the many responsibilities of the HD96-24 system, are just a few of the new concepts created to take audio for mixing to new levels.

For best results, read this Quick Start Guide (QSG) and enjoy the future of mixing with the HD96-24 system.

About This Guide

This QSG is intended to quickly familiarize users with the console layout, demonstrate how to configure and set up the system, and then show how to perform the basic functions required to start mixing audio. This document is intended for professional engineers who will use this equipment in a live sound environment, such as Front of House (FOH) and Monitor (MON) engineers. The reader is assumed to have prior experience with professional audio equipment.

For complete detailed information on the HD96-24 system, please refer to the HD96-24 User Manual, which is available on our website at midasconsoles.com. It is strongly recommended that you read the full manual, as many improvements will be made and as the software evolves rapidly, some screenshots in this QSG may be outdated. We are at the dawn of this powerful new audio mixing system, which will continue to evolve over time.

HD96-24 System Firmware Version

Our software engineering team is continuously working to improve and expand the functionality of the HD96-24. It is essential that the latest firmware version is installed on the system to get the best results from the console. Updates can be found in Midas mCloud (cloud.midasconsoles.com), a new way to track and store system updates, and also via the midasconsoles.com website.

HD96-24 Touch Screen

⚠️ Warning: Do not place or operate the HD96-24 in direct sunlight or in areas where direct sunlight may fall on the screen. If the screen is exposed to direct sunlight, it may become unresponsive and too hot to operate. Ensure your console has a suitable cover.

Warranty and Registration

Midas is renowned worldwide for quality and reliability. This product comes with the standard Midas 10-year warranty. The console can be registered by using Midas mCloud.

Service and Support

The HD96-24 is state-of-the-art technology. We offer incredible levels of support and service via Midas mCloud or our service team to ensure owners and users have confidence in Midas products.

Key Terms and Definitions

• GUI: Graphical User Interface or Touch Screen.
• Channel: Any input, output (Auxiliary, Matrix).
• Path: Any input, output, VCA, or Bus.
• Group: Groups used to bring paths in or out of ground-up channels.
• Contribution: Any path that contributes to an output bus.
• Touch: The action of pressing the touch screen to open or select a function.
• Select: Same as Touch.
• Pinch: Squeezing with two fingers together, used to tighten or widen EQ bandwidth (Q).
• Swipe: Moving a page left or right by pressing, holding, and moving in the desired direction.
• Press and Hold: A method of selecting all paths on the current page for multiple edits, or a method of using a parameter function that could be critical if pressed incorrectly, such as flattening an EQ is a press-and-hold function.
• Widget: The name for one or more windows displayed on the GUI as part of a workflow.
• Workflow: The activities required to mix audio visually.
• Knob: A physical control used to adjust levels or values.

2. HD96-24 Overview

Introducing the HD96-24 Digital Mixing System

For decades, Midas has been a driving force in the professional audio industry. With outstanding audio performance and rugged, reliable construction proven on the road, the XL8 and PRO series have achieved incredible success, with the Midas PRO series becoming the gold standard for concert touring and live sound installations. The PRO2, PRO3, PRO6, PRO9 and later versions of the PRO series, featuring the same outstanding sample-synchronous and phase-coherent audio performance, interpolated control functionality, and intuitive navigation, have become one of the primary choices for live mixing in the industry.

Now, the HD96-24 pushes the boundaries once again with a 21-inch touch screen, giving you instant access to all controls. Gesture touch interaction via a precise, accurate multi-touch display makes parameter adjustment fast and easy, with up to 10 simultaneous touches. With 144 simultaneous Flexi Inputs and 123 time-aligned, phase-coherent buses (96x Flexi Aux + 24 x Matrix + 3 Output Buses = 123), there is no wasted resource of channels or bus count. A true and consistent 96kHz sample rate and 64-bit floating-point processing provide exemplary high-quality audio processing. Oversampled and interpolated digital signal processing algorithms, combined with fully interpolated and touch-sensitive user controls, deliver a smooth, continuous response and immediate analogue console-like operation.

The HD96-24 features rugged and road-proven Klark Teknik HyperMAC (HMAC) and SuperMAC (AES50 compatible) networking technology, with ultra-low deterministic latency and robust error correction capabilities. Its powerful audio network provides up to 624 inputs and 654 outputs at a 96kHz sample rate, depending on configuration.

Application Areas

The HD96-24 is a high-end Midas digital console system, akin to the 'industry standard' Heritage 3000 and XL4. Although designed for traditional touring live sound environments, the HD96-24 is also ideal for theatres, house of worship facilities, and broadcast. As such, the HD96-24 is a truly versatile console, true to the Midas heritage, suitable for many applications such as:

• FOH or MON duties for live touring.
• FOH or MON duties for live sound theatre.
• FOH or MON duties for live sound church.

System Buses

The HD96-24 features comprehensive system buses to suit demanding applications, comprising:

1. 3 Master Buses (1 Stereo, 1 Mono), routable from Mic/Line inputs (up to 144), and 96 Auxiliary Buses.
2. 2 Stereo Solo Buses, routable from all positions, allowing dual operation.
3. 24 Matrix Buses, routable from Mic/Line inputs (up to 144), 96 Auxiliary Buses, and 3 Stereo Buses.
4. 96 Auxiliary Buses (standard or flexi-aux), routable from Mic/Line inputs (up to 144) or from flexi-aux buses to aux buses for group or subgroup style processing.

All bus routings provide simultaneous and time-aligned mixing of all sources, which can be switched to minimise latency requirements. For monitor mixing, the Master, Matrix, and Auxiliary buses can all be routed directly from input channels with independent level control, providing up to 123 monitor mixes. Flexi-Aux buses allow group mixes of channels to be sent to Auxes, Matrices or Masters, for example, mixing and processing all drums via a Flexi-Aux and sending to an IEM Aux. For traditional FOH subgroup mixing, any (or all) of the Auxiliary buses can be changed to operate post-fader and post-pan (i.e. the aux gain is fixed at 1).

Diagram Description: A block diagram illustrating the HD96-24's bus architecture. It shows Direct Bus Inputs feeding into Flexi-Aux Buses (up to 96), Aux Buses (up to 96), 3 Master Buses, and 24 Matrix Buses, all leading to Bus Outputs. The diagram visually represents the flow of audio signals through the system's various bus types.

Network

The HD96-24's network utilizes the physical connectivity of Ethernet (EtherCon® connectors and Cat 5e/copper cabling), but replaces its data protocol with the AES50 protocol (implemented as SuperMac) and HyperMac high-capacity system, which is more suited to high-capacity quality, low-latency audio distribution. The use of AES standards allows direct interfacing with any third-party hardware that also utilizes this connection. AES50 connections transmit digital audio and control data bi-directionally over a single cable. Cat 5e cables are used for 'local' connections between the console and I/O, and for dual digital 'snakes' (equivalent to 384 channels of analogue multicore, with 192 channels per snake connection). The combination of audio, control, clock, and third-party Ethernet data within a single network means hardware interfaces on a single RJ45 connection. All system connections can be duplicated for full dual redundancy.

mCloud Network

The Midas mCloud network is a new concept in file and system management. The HD96-24 features built-in Wi-Fi capability that allows ground-based sharing of its information via Wi-Fi and any other network connection to mCloud. Rest assured, the connection is completely secure, and considerable time has been spent ensuring information security. mCloud can be used to store display files, preset files, and all other types of data from the console. If you leave your USB flash drive with important settings at home, you can simply log into your mCloud account and load your show file directly into the HD96-24 without any effort. New system updates can be downloaded directly to the ground for you to update when you are ready. A list of all previous software versions will be stored on the HD96-24, giving you peace of mind. It also allows audio rental companies to track registrations, software versions, warranties, and diagnostic logs. All administrators for a busy rental company operate in one place.

Each user of the HD96-24 will be prompted to set up a user profile, which will also configure your mCloud account. Access cloud.midasconsoles.com to set up and use your account.

HD96-24 Software

The operating system for the HD96-24 is Linux, an open-source, stable, proven operating system (OS). Linux is used in many mission-critical applications worldwide and allows Midas's software engineers to write a foundational system that does not contain any 'hidden' or unused code. This results in an efficient, compact application that runs quickly, boots fast, and is relatively easy to debug.

Graphical User Interface (GUI)

The HD96-24 features a 21-inch touch screen that provides a fast and intuitive workflow. Modern gestures, including pinch and smooth touch screen faders, speed up the workflow and allow you to concentrate on the mix. The GUI not only reflects what is happening on the control surface but also provides additional functionality via top and side bar menus. These menus provide access to all the pages required for setting up, configuring, managing, and operating the entire control interface. Gone are the days of only touching one thing on the screen at a time. You can manipulate up to 10 faders simultaneously with two hands if you wish. The pinch gesture is shown adjusting EQ width.

Diagram Description: Two images showing hand gestures on the touchscreen. The first shows a 'pinch' gesture, with a label indicating it's used for adjusting EQ width. The second image shows a 'swipe' gesture, demonstrating interaction with the GUI.

System Card Expansion

The HD96-24 has 2 CM-1 slots built-in for further audio expansion. Adding up to 128 I/O channels can significantly enhance network functionality. Virtual Sound Check and recording have never been easier to set up and implement via flexible options. The HD96-24 has a significantly extended shelf life by supporting emerging protocols via its two industry-standard expansion slots.

3. Getting Started

Principles of Operation

The HD96-24 incorporates a user profile system for storing information about console settings and other user information. Everyone using the HD system can have their own personal profile, and if the HD system has a valid internet connection, all your display files and other useful information can be saved to the console and saved via the mCloud network, using your profile.

Operation of the control panel is based on the concept of colours and groups, rather than 'hierarchical' or 'paged' as is the case with most digital mixing consoles on the market today. With so many channels available, it is much easier to remember them by user-configured personal/group colours and names (rather than channel numbers). Labels can also be used to group channels together to speed up certain functions, for example, changing the colour of all drum channels.

The control panel is populated with instantly recognisable controls, logically distributed into major sections, so that the controls you need access to most of the time are always on the control surface, and the rest are just an operation away. You can work via the console view workflow to display all I/O meters on both the console and the GUI to provide instant monitoring and metering feedback.

Operation Modes

You can change certain aspects of the control centre operation by assigning different tasks to certain areas of the control surface.

Tips and Tricks

• It is a good idea to check the "Console View" screen regularly. It provides an overview of the input/output status of the control interface at a glance.
• The Manchino (Multi Edit) page is a great place to set various inputs or outputs to user-defined levels or settings, for example, setting all faders to 0dB, setting all contributions to a specific aux to fade up, or routing paths for a large number of stereo buses. For detailed information on how this works, please see the full HD96-24 manual.

User Journey

When the HD96-24 is first powered on, the welcome screen will be displayed, followed by the 'Country or Region' selection page. To enjoy the full benefits of the mCloud system, it is recommended to have an Internet connection wired or wireless. After the system has registered and on the second power-up, you will be prompted to log in or create and add a new profile.

Diagram Description: A series of screenshots showing the initial setup process: 1. Welcome screen. 2. Country selection. 3. Network connection prompt. 4. User login/creation screen. 5. Timezone selection. 6. Shutdown button.

Saving Work

We recommend that you save your work to mCloud and a USB memory stick regularly as you perform the steps included in this guide. This is not only good practice during normal operation but can also save you from losing some settings that may be useful later on in this situation.

Saving Shows vs. Storing Scenes

It is important to understand the difference between saving a show and storing a scene. Storing a scene saves the current settings of the system to a show file. The scene data is never updated unless you manually store the scene. The show file is still not saved to RAM. Although the state of the control surface is copied every five seconds, it is not stored in the scene. Instead, it is placed in the control surface's NVRAM (Non-Volatile Random Access Memory), which is a type of RAM that does not lose its data when power is removed. If the control surface loses power unexpectedly, these settings are loaded to keep the audio parameters the same, thus avoiding audio level jumps. After saving the show, the show file is copied to the internal solid-state disk of the control surface. This provides you with a 'permanent' copy if you shut down the system correctly as described in the following section. You can also choose to save your show to your Midas mCloud account. This provides an extra layer of security for your work, allowing you to restore your show file to the console even if you lose your USB memory stick.

Properly Shutting Down the Control Centre

When powering down the control surface, it is recommended that you use the shutdown option in the GUI menu. Press and hold the Shutdown button for a short period, and then lines will move around the outside of the button. The surface will then initiate the shutdown routine, the screen will go blank, the Midas logo will briefly appear, and then the screen will go blank again, indicating the shutdown process is complete. Only after the system has been correctly shut down should you safely turn off the power switch. By using Shutdown, a cached copy of the show data maintained by the system will be automatically saved. The shutdown then uses the current show file, NVRAM data, and cached files to restore the control interface to exactly the same state as it was before power was lost. It is even possible to load an unsaved show and place you on the correct scene with unsaved scene data located on the control interface.

If the 'Shutdown' option is not used, audio parameters will still be restored, but the display state (saved/unsaved) cannot be automatically restored. You must manually reload the show, and all unsaved changes will be lost.

Midas mCloud System

mCloud handles all show file storage at a basic level. Imagine leaving your USB flash drive at home and not having to worry, as you can see all your shows in one convenient place once you log into mCloud on the surface.

Below is a list of statuses showing how files are synced:

• Synced: All versions of the show are pushed to mCloud; any newer mCloud versions have been synced to the console.
• Pending: One or more newer versions have been created on the console and will be synced shortly.
• Syncing: Edits are being pushed to mCloud and/or pulled from mCloud.
• Conflicted: Edits have been made on both the console and in the cloud: waiting for user to select the correct current version.
• Error: The sync service encountered a problem when attempting to sync this resource (e.g., due to communication issues with mCloud).

Diagram Description: A table listing mCloud synchronization statuses with corresponding icons: Synced (checkmark), Pending (arrow pointing right), Syncing (arrows in a circle), Conflicted (exclamation mark), Error (cross symbol), Need Password, mCloud Auth Failed, Offline.

4. Control Surface

The HD96-24 is designed from the ground up to offer the operator easy-to-use touchscreen controls alongside familiar analogue-style controls. This clever combination of working methods ensures that any engineer can walk up to the console and feel immediately at home, but can also delve deep into the system when required for complex routing and detailed sonic operation.

The surface is built on a robust Midas steel frame chassis, similar to those used in established Midas analogue products. All surfaces are controlled by two processors. All relevant power supplies, computer motherboards, Wi-Fi routers, Bluetooth, memory, graphics cards, etc., are located within the surface, which also contains a digital audio router box that supports the local I/O connectors on the rear panel. Baffles and large (but slow-moving) internal fans provide ample forced air cooling. The large capacitive touch screen displays a wealth of information and can be customised to match your workflow, making entertainment enjoyable. Using modern gestures from mobile phone and tablet technology (e.g. pinch and swipe), parameter operation can be made faster and more responsive with up to 10 simultaneous touch points.

The HD96-24 system is designed to be easily viewable by colour-blind individuals. Great effort has been taken to make the system visible to as many colour-blind individuals as possible.

Control Surface Layout

The HD96-24 surface can be broken down into 7 distinct areas, with all controls within easy reach for fast and accurate operation. The areas are defined in the diagram below.

Diagram Description: A visual layout of the HD96-24 control surface, divided into key areas: GUI Control Area (21" touchscreen), Channel Strip (individual channel controls), Master & Solo Controls, Assignable Controls (top of faders), Fader Banks (four banks of faders), and Global Assignable Shortcuts.

Fader Banks

The HD96-24 features 4 fully assignable fader banks, split into 3 banks of 8 faders each, and one bank of 4 faders, each fader featuring an independent full-colour, ultra-bright LCD display. Any section can be assigned to any function, be it inputs, outputs, POPs, VCAs, Matrices, or Buses. This concept allows the user to fully customise the surface to suit their mixing preferences.

Global Assignable Shortcuts

The Global Assignable Shortcuts area can be used to provide many simple and complex functions, with macro-style controls at your fingertips. For example, pop group selection, triggering macros, or auto-calling.

Assignable Controls

The assignable controls above the faders and to the sides of the GUI can be fully customised to suit your workflow. Functions can be changed quickly using cursor arrow controls. For example, changing pan position, auxiliary control, or gain changes.

Channel Strip Layout

• ① LCD Display: High-resolution display providing metering, channel information, and flip status, as well as local parameter values.
• ② Select (Fader Channel Select): This button selects the channel for various operations, including adjusting parameters from the GUI and assigning to the channel detail area.
• ③ COMP: Compressor Gain Reduction (GR) meter.
• ④ INPUT: Input metering.
• ⑤ GATE: Gate Gain Attenuation (GA) meter.
• ⑥ MUTE: Press the MUTE button to mute (turn off) the channel.
• ⑦ SOLO: Press SOLO to listen to the channel signal.
• ⑧ LEVEL: The faders are touch-sensitive, providing gain control from -∞ to +10dB (or +6dB if contributing to an output bus).

Diagram Description: A close-up illustration of a single channel strip on the console, highlighting each component with numbered callouts corresponding to the description above (LCD Display, Select, COMP, INPUT, GATE, MUTE, SOLO, LEVEL fader).

5. System Setup

Unpacking

After carefully unpacking the unit, please save all packaging materials, as they will prove useful should the equipment need to be transported at a later date. During transit, please inspect the equipment carefully for any signs of damage. It has undergone rigorous quality control checks and testing prior to packing and was in perfect condition when leaving the factory. However, should the equipment show any signs of damage, please notify the shipping company immediately. Only you, the consignee, can make a claim for transit damage with the carrier.

Rack Mounting

Please observe the following rack requirements:

To ensure correct installation and functionality of the outboard equipment, any rack must meet the following general requirements:

• Shock-Mounting (for non-installed environments): The rack must employ a properly designed shock-mounting method to provide adequate vibration protection for the equipment it houses. For example, a shelf suspended in foam or a frame suspended on anti-vibration mounts.
• Ventilation: The HD96-24 has air intake vents on each side of the console. Air is drawn through vents on the sides of the console and expelled via two fans at the rear of the surface. It is critical that these air pathways are not obstructed, as overheating may occur if airflow is restricted.

  Diagram Description: An illustration showing airflow through the console, with arrows indicating air entering from the sides and exiting from the rear.

• Rack Design for Ventilation: Midas I/O units are designed to have internal ventilation airflow drawn from the front of the unit and expelled from the rear. To achieve this, rack designs must ensure that cold air can flow freely through the rack in the same direction, i.e. from the front of the rack into the rear. Situations where air is allowed to circulate in a circular direction around and through Midas I/O units must be prevented. Midas recommends racks with front and rear doors fully open.
• Warning: Never combine equipment designed for ventilation in the same rack as equipment designed for ventilation direction for MIDAS units. To avoid this, we recommend placing any non-Midas units separately.
• Rack Mounting Brackets: Always secure the rear of Midas I/O units to the rack via their rear rack mounting brackets. These brackets are fitted to every Midas I/O unit and are recommended for use on tour.
• Rack Case Handles: You must ensure that sufficient external handles are fitted to the rack casing for convenient and safe operation of the rack, and to operate according to the number of personnel suitable for the task. Moreover, these handles must be fit for purpose.
• Clearance at the Rear of the Unit: Ensure sufficient clearance at the rear of the equipment to provide adequate free space for cables to reach their minimum bend radius.
• Securing Cables: We recommend using hook-and-loop straps and cable ties to tidy the cables at the rear of the equipment. This should provide optimum passage at the rear of the equipment for connection to other cables, powering up/down the equipment, etc., and maximum visibility of the equipment's LEDs to determine communication status, link status, audio status, etc.

Connection Methods

There are currently two methods for connecting system equipment together:

1. The HD96-24 is connected to a Klark Teknik DN9680 via copper cable (up to 100m) or multi-mode (MM) fibre snake (up to 500m). The Klark Teknik DN9680 is then connected via Cat5E (up to 100m) to an I/O box (e.g. DL231).
2. The HD96-24 surface is connected directly to I/O (e.g. DL231) via Cat5E (up to 100m).

STP Cat5E rated cable must be used exclusively!

Length = 100M point-to-point according to Cate5E Ethernet protocol - consider any inline connections or links will shorten the total cable length.

AES50 Cat5e STP vs UTP Cable

Music Tribe has standardized the use of Ethercon cables for AES50 connections and states that customers must use only shielded twisted pair (STP) cables with shielded RJ45 plugs and Ethercon housings. STP cables also have the added benefit of foil or braid shielding to protect the cable from electromagnetic interference. Good foil or braid shielding, along with properly connected shielded plugs and housings, also helps prevent the generation of static electricity discharge (ESD) that could cause AES50 connections to drop. Occasionally shielded Ethercon cables will have one end of the shield disconnected to aid grounding, even though it is of no benefit to the AES50 connection. Both ends of these connections (including the Ethercon housing) should have a continuous shield. This will ensure the best protection against strong ESD impacts, such as handling discharge or nearby lightning strikes.

All AES/EBU connections must use high-quality 110 Ohm AES/EBU cables to ensure correct operation.

Diagram Description: A diagram showing different connection scenarios: HD96-24 connected to DL153 via FOH, HD96-24 directly connected to DL231 via Cat5e, and a general I/O rack setup. It also shows connection options via DN9680 (Snake 1/2, AES3, Sync, MIDI, Word Clock, HDMI, Fader Port, Ultranet, AES50).

Front and Rear Panel Connections

The connector panel on the rear of the surface has two main sections. The left side contains the two main power inlets and ventilation, with 2 AC power switches below. The right section contains connections for Snake / Multicore, Ethernet control, eight analogue audio inputs and outputs, three AES3 inputs and outputs, diagnostics, word clock, Twin HDMI™ external monitor outputs, Midi, Talkback (line level input), and two expansion card slots and a USB hub.

The front connector panel, to the right of the GUI, has an XLR jack and a USB jack for connecting a talk microphone and USB devices respectively. For example, you can connect a USB memory stick for show file backup and transfer. Below the armrests on the left and right sides are two 6.35mm headphone jacks, connected to Mon A and Mon B respectively.

6. Basic Operation

Global Assignable Shortcuts

The "Global Assignable Shortcuts" area in the centre of the surface allows various functions to be placed within easy reach of the user. The twelve full-colour LCD displays with selection buttons show a wealth of information and allow complex operations to be recalled with the press of a button.

• HOME: The HOME key is located under the "Shortcuts" area. When pressed, the HOME workflow will enter the GUI.
• TAP: The TAP button is used to set the speed of effects assigned to the Global TAP tempo function. Typically 8 taps are required to achieve an accurate tempo.
• Page Navigation Keys: These two keys switch between the various pages of the fully assignable Global Assignable Shortcuts pages.

Diagram Description: An illustration of the Global Assignable Shortcuts section of the console, showing the HOME, TAP, and PAGE navigation buttons, along with LCD displays and selection buttons.

Front and Rear Panel Connections

The connector panel on the rear of the surface has two main sections. The left side contains the two main power inlets and ventilation, with 2 AC power switches below. The right section contains connections for Snake / Multicore, Ethernet control, eight analogue audio inputs and outputs, three AES3 inputs and outputs, diagnostics, word clock, Twin HDMI™ external monitor outputs, Midi, Talkback (line level input), and two expansion card slots and a USB hub.

Diagram Description: A view of the rear panel of the HD96-24 console, detailing the placement of various connectors including Ethernet, HDMI, USB Hubs, MIDI, Ultranet, AES50, and power inputs.

External Interfaces and Peripherals

• Ethernet: The Ethernet port on the rear of the surface is used to connect the HD96-24 to a network or an external wireless router.
• HDMI: Two ports on the rear panel of the HD96-24 are for connecting additional monitors (supporting 1920 x 1080p 59.94Hz/60Hz 16:9 and 720x480p 59.94Hz/60Hz 16:9).
• USB Hubs: Two 4-port USB 3.0 hubs are provided on the rear of the HD96-24. Additionally, a USB port can be found on the right side of the GUI screen for convenient file transfer. Fader Port USB outputs are for future fader bank expansion only.
• MIDI: Standard 5-pin DIN connectors for MIDI IN, OUT, and THRU ports are located on the rear panel. They are also fitted on some I/O units (e.g. DL231, DL251) so they are available at both FOH and stage positions.
• Ultranet: Two ports for connecting Ultranet-compatible devices.

Diagram Description: A diagram showing the rear panel connections with labels for Ethernet, HDMI 1/2, USB Hub 2, MIDI In/Out/Thru, Ultranet, and USB Hub 1.

7. System Configuration

Setting Device IDs

Once the system is connected, you may need to set the IDs for units in the rack, such as DL231 I/O or DL15x I/O, as each unit in the same series must have its own unique ID number. For full details on changing device IDs, please refer to the DL Series or HD manuals.

Power and Ventilation

The connector panel on the rear of the surface has two main sections. The left side contains the two main power inlets and ventilation, with 2 AC power switches below.

Diagram Description: An illustration of the rear panel showing the power inlets and ventilation area.

Local I/O

The right section of the rear panel contains connections for Snake / Multicore, Ethernet control, eight analogue audio inputs and outputs, three AES3 inputs and outputs, diagnostics, word clock, Twin HDMI™ external monitor outputs, Midi, Talkback (line level input), and two expansion card slots and a USB hub.

Diagram Description: An illustration of the rear panel showing the audio, control, and network connection ports.

Audio, Control, and Network

The connector panel on the rear of the surface has two main sections. The left side contains the two main power inlets and ventilation, with 2 AC power switches below. The right section contains connections for Snake / Multicore, Ethernet control, eight analogue audio inputs and outputs, three AES3 inputs and outputs, diagnostics, word clock, Twin HDMI™ external monitor outputs, Midi, Talkback (line level input), and two expansion card slots and a USB hub.

Diagram Description: A detailed view of the rear panel connections, including Ethernet, HDMI, USB Hubs, MIDI, Ultranet, AES50, and power inputs, with labels for each connection type.

8. Detailed Controls

Config

• ① Link: Links the currently selected input channel to the next input. Note that outputs always link odd to even, e.g., Aux 1 to 2.
• ② Talk: Sends the talk bus to the selected channel.
• ③ Gain: Adjusts the gain of the input channel's preamplifier.
• ④ Trim: Adjusts the trim level of the input from -40 to 20dB, or the trim level of the Auxiliary, Matrix, and Master buses from -12 to 6dB.
• ⑤ HPF: High-Pass Filter (HPF) control ranges from 10Hz to 10kHz.
• ⑥ LPF: Low-Pass Filter (LPF) control ranges from 40Hz to 20 kHz.
• ⑦ Dir Mute: Mutes the direct output from the current output channel.
• ⑧ Insert: Opens the insert point on the selected channel.
• ⑨ 48V: Activates 48V phantom power on the selected input channel.
• ⑩ Ø: Polarity switch. Reverses the polarity of the selected channel by 180° (often incorrectly referred to as 'phase reverse' as this button only reverses polarity).
• ⑪ HPF: Activates the HPF.
• ⑫ LPF: Activates the LPF.

Diagram Description: A close-up of the 'Config' section of a channel strip, showing controls for Link, Talk, Gain, Trim, HPF, LPF, Dir Mute, Insert, 48V, Polarity, and activation buttons for HPF/LPF.

Equaliser

• ① EQ ON: Turns the equaliser on for the selected channel.
• ② GAIN: Range for each band is ±16.2dB.
• ③ FREQUENCY: Frequency range for each band is 16Hz to 25kHz.
• ④ WIDTH: The width or Q of an EQ band can be changed from 0.3 to 5.3.
• ⑤ SHAPE: Changes the shape of Band 4. For inputs, shape options include Bell, Bright, Classic, Soft. For outputs, the 'Shape' button has 'Shelf', 'LP 6 dB', 'LP 12 dB', and 'Bell' modes.
• ⑥ SHAPE: Changes the shape of Band 1. For inputs, shape options include Bell, Deep, Classic, Warm. For outputs, the 'Shape' button has 'Shelf', 'HP 6 dB', 'HP 12 dB', and 'Bell' modes.

Diagram Description: A close-up of the 'Equaliser' section of a channel strip, showing controls for EQ ON, Gain, Frequency, Width, and Shape for multiple bands.

Dynamics

• COMPRESSOR GR Meter: Compressor (Comp) Gain Reduction meter (range -1dB to -23dB).
• GATE GA Meter: Gate Gain Attenuation meter (range -1dB to -34dB).
• SEL Comp: Selects the compressor settings for the selected channel.
• ON: Turns on the compressor for the selected channel.
• SEL Gate: Selects the gate settings for the selected channel.
• ON: Turns on the gate for the selected channel.
• MODE: Selects the mode for the compressor (Correct, Adaptive, Creative, and Vintage) or for the gate (Gate or Ducker).
• ATTACK: Controls the attack setting of the gate or compressor.
• HOLD: Controls the hold value for the gate. Hold is the time until the release portion of the gate begins to operate.
• RELEASE: Controls the release characteristic of the gate and compressor.
• RANGE/RATIO: Range is related to the gate and controls the amount of signal that is allowed through when the gate is closed. This is useful on drums where some dry drum sound can be allowed through when the gate is closed. Ratio is related to the compressor. For every 1dB that the signal goes above the threshold point, the signal will be turned down or compressed by 3dB at a ratio of 3:1.
• THRESHOLD: Adjusts the point at which the gate opens or compression begins.
• KNEE: Changes the compressor knee setting (Hard, Medium, or Soft).
• MAKE-UP: Adds gain to the compressor output. By adding gain to match the amount of gain reduction that has occurred, this can allow you to balance the level of the compressor when it is on and off. (Range 0dB to 24dB).
• SIDECHAIN FREQUENCY: Sets the frequency of the sidechain listen for the gate or comp for tighter control over specific frequency ranges.
• ON: Turns the gate or comp sidechain on.
• LISTEN: Sends the selected sidechain frequency to a separate bus for monitoring and fine-tuning the frequency.
• WIDTH: Changes the width of the sidechain for the gate and comp (0.10ct, 0.30ct, 100ct and 100ct 2).

Diagram Description: A close-up of the 'Dynamics' section of a channel strip, showing controls for Compressor, Gate, Mode, Attack, Hold, Release, Threshold, Knee, Make-Up, Sidechain Frequency, Listen, and Width.

Phones

• ① PHONES A LEVEL: Level control.
• ② PHONES B LEVEL: Level control.
• ③ PHONES A MUTE: Mute button.
• ④ PHONES B MUTE: Mute button.

Diagram Description: A close-up of the 'Phones' section, showing level controls and mute buttons for Phones A and Phones B.

Talk

• TALK GAIN: Adjusts the gain of the surface Talk Mic input.
• TALK MIC: XLR input for the local talk microphone.
• TALK INT (Internal): Allows the talk microphone to be sent to the internal talk bus. For example, it can be used to send your microphone into a channel to test signal flow.
• TALK EXT (External): Allows you to route the local talk microphone to the Ext Talk.
• OSC INT: Activates the oscillator on the selected internal bus.
• OSC EXT: Sends the oscillator to the Ext Talk bus. If required, the oscillator can be sent to a channel by patching the Ext Talk out from the monitor patch page to a channel.

Diagram Description: A close-up of the 'Talk' section, showing controls for Talk Gain, Talk Mic input, and Talk INT/EXT options, along with OSC INT/EXT.

9. Solo and Monitor

Solo

• ① A PFL: Indicates Pre Fader listening is being monitored via the Solo A bus to an input channel.
• ② B PFL: Indicates Pre Fader Listening is being listened to via the Solo B bus to an input channel.
• ③ A PFL: Indicates 'Pre Fader Listen' is being listened to via the Solo A bus to an output channel.
• ④ B PFL: Indicates Pre Fader Listening is being listened to via the Solo B bus to an output channel.
• ⑤ ADD (A): Allows multiple input channels to be listened to simultaneously on the A Solo bus.
• ⑥ ADD (B): Allows multiple input channels to be listened to simultaneously on the B Solo bus.
• ⑦ CLEAR (A): Clears all current solo selections.
• ⑧ CLEAR (B): Clears all current solo selections.

Diagram Description: A diagram illustrating the 'Solo' section controls, showing buttons for A PFL, B PFL, ADD A, ADD B, CLEAR A, and CLEAR B.

Monitor

• ① SWAP: Fully swaps the A and B Monitor Bus buses, meaning A becomes B and vice versa. For example, you can listen to the wedge monitor mix on the in-ear monitor bus if required, without having to re-patch.
• ② TALKBACK: Allows the backline level talkback input to be routed directly into the Monitor A bus.
• ③ TALKBACK: Allows the backline level talkback input to be routed directly into the Monitor B bus.
• ④ ST: Routes the stereo bus to the Monitor A bus.
• ⑤ ST: Routes the stereo bus to the Monitor B bus.
• ⑥ DIM A: Reduces the level of the Monitor A bus by 6dB.
• ⑦ DIM B: Reduces the level of the Monitor B bus by 6dB.
• ⑧ MUTE: Mutes the Monitor A bus.
• ⑨ MUTE: Mutes the Monitor B bus.
• ⑩ MONITOR METERING: Stereo 20 LED meter, -36dB to +21dB.
• ⑪ MONITOR B METERING: Stereo 20 LED meter, -36dB to +21dB.
• ⑫ MONITOR A LEVEL: Level control. Maximum level 10dB.
• ⑬ MONITOR B LEVEL: Level control. Maximum level 10dB.
• ⑭ C/O: Sends the level control for the monitor directly below the fader for easy adjustment.
• ⑮ C/O: Sends the level control for Monitor B directly below the fader for easy adjustment.

Diagram Description: A diagram illustrating the 'Monitor' section controls, showing buttons for SWAP, TALKBACK, ST, DIM A/B, MUTE A/B, LEVEL A/B, and C/O.

Master

• ① MUTE MASTER: Mutes the master stereo bus.
• ② MUTE MONO: Mutes the mono bus.
• ③ MASTER METERING: Stereo 20 LED meter, -36dB to +21dB.
• ④ MONO METERING: Stereo 20 LED meter, -36dB to +21dB.
• ⑤ MASTER LEVEL: Level control. Maximum level 10dB.
• ⑥ MONO BUS LEVEL: Level control. Maximum level 10dB.
• ⑦ C/O: Sends the master stereo bus level control directly below the fader for easy adjustment.
• ⑧ C/O: Sends the Mono bus level control directly below the fader for easy adjustment.

Diagram Description: A diagram illustrating the 'Master' section controls, showing MUTE MASTER, MUTE MONO, Master/Mono metering, Level controls, and C/O buttons.

10. Technical Specifications

Processing

Connectors

Input/Output Characteristics

Display

Controls

• 100mm Motorised Faders
• Touch Sensitive Rotary Controls
• Customisable Controls
• Fully Assignable Rotary Controls
• Fully Assignable Backlit Buttons
• Headphone Controls
• Talkback

Wireless

Power

Physical

11. Other Important Information

1. Online Registration: Please register your Music Tribe product immediately after purchase at musictribe.com. There is a simple online registration form on the web page. This helps us process your service requests more quickly and efficiently. Please read the warranty terms and conditions.
2. Product Not Working Properly: Should your Music Tribe product fail to work properly, we will repair it for you as quickly as possible. Please contact the dealer from whom you purchased the product. If you do not have a Music Tribe dealer in your area, please contact the subsidiary or distributor listed under the "WHERE TO BUY" section of the musictribe.com website.
3. Power Connection: Before connecting this equipment to the mains, ensure that the voltage used is correct. If the fuse needs replacing, it must be replaced with the same model and rating.