DIGITAL GOES MIDAS
2006년 XL8이 처음 공개 되었을당시 다른 디지털 콘솔과 같지 않은 XL8 때문에 업계는 숨죽이고 있었습니다.
오디오 콘트롤과 분배, 사실은, 라이브 퍼포먼스를 위한 모든 관점이 한 개의 콘트롤 센터에 녹아 있습니다.
Being a MIDAS 그것은 다른 디지털 콘솔과 비교할수 없는 사운드 퀄리티, 유연성 그리고 신뢰성과 사용의
편리함 친근함이 결합되는 것입니다.
XL8은 사용자가 믹싱함에 있어 숫자, 페이지 혹은 레이어를 생각하지 않아도 되게끔 설계 되었습니다.
사용자는 그들 스스로 생성할수 있는 색상과 그룹으로서 채널을 규정하고 탐색합니다.
이 방법은 숫자 제한으로 지배된 하드웨어에서 일하는것과 달리 믹싱에 개별화된 접근을 할수 있게 합니다.
Digital goes MIDAS. The industry held its collective breath when the XL8 was unveiled in 2006 as this
was not merely another digital mixing console. It brought audio control and distribution, in fact all aspects
of the live performance to one single control centre. Being a MIDAS it coupled sound quality, flexibility
and reliability with an ease and familiarity of use unrivalled by other digital control surfaces.
The XL8 has been designed so the engineer doesn’t have to think in terms of numbers, pages or layers.
The user navigates the system and identifies channels by colours and groupings, which they themselves
This method allows an individualised approach to mixing, rather than working within hardware-dictated
• Five “Daylight Visible” Screens with 3-way KVM switch
• 432 inputs and 432 outputs connectivity
• Direct Point to Point routing, any in to any out with metering
• 4 I/O box alternatives: distributable I/O with 600m range
• 112 mix inputs onto 51 buses
• 12 VCAs
• 8 POPulation Groups
• 4 EQ types and 5 dynamics styles as standard
• 16 effects devices
• Up to 51 1/3 octave graphic EQs (37 standard)
• Configurable “Area B” for dual operators
• 2 independent stereo solo systems
• 55 P&G Motorised Faders
• Surround panning including 5.1, Quad and LCRS
• 500m bi-directional 192+192 channel redundant snake
• All I/O units connected by AES50 bi-directional 24+24 channel CAT-5e
• All I/O can be 100 metres from Front of House or Stage router positions
• 8 AES50 Ports on the Control Centre and 10 on stage router (DL461) for I/O expansion
• Scene by scene re-assignment of routing and effects
• All DSP processing, AD/DA conversion and networked audio is at 96kHz sample rate
• All DSP processing, AD/DA conversion and networked audio is fully and automatically time aligned
• Extensive and comprehensive scene automation system
• Show files are fully compatible across software releases and all MIDAS digital consoles
• MIDI and GPIO automated events at FOH and stage
• Ethernet tunnel provided for 3rd part communications through snake
• Dual-Redundant Linux Control Computers
• Dual-redundant audio networks
• DSP, I/O and controls redundancy
• Single and dual (for FOH + monitors) versions
• Three year factory warranty
• KLARK TEKNIK DN9696 96 track High Resolution Audio Recorder
• KLARK TEKNIK DN9650 Network Bridge (MADI, Dante, Aviom, Ethersound, CobraNet)