Midas Heritage 3000 48-Channel Live Mixing Analog Console with Power Supply

Midas Heritage 3000 48-Channel Live Mixing Analog Console with Power Supply

The Heritage 3000 has established itself as the international industry standard in concert sound for Front of House and monitor applications. Defined not only by its striking colour (yes, it's purple) but also by all those things that make it so unmistakably Midas, the Heritage 3000 has proved to be a runaway success from day one.

Firstly, it's flexible - at home in a theatre, an Outside Broadcast Truck, on stage or at front of house, the H3000 offers a unique, easy to use, three position switching system that changes the consoles output functions according to the application.

Secondly it has all of the hallmarks which make it sound so distinctly Midas. They include a new mic amplifier which further improves on the XL4 design giving a CMR improvement of +30dB whilst retaining the XL4's constant HF bandwidth topology, assuring excellent amplifier stability, RF rejection and noise performance at all gains, plus the legendary fully parametric XL4 EQ. This powerful desk is available in frame sizes from 48 to 56 inputs and is as tough as they come. With it's contemporary styling and vast range of features plus the Midas assurance of quality, it is little wonder this desk is the darling of the live sound market.

Ultimate Flexibility: The Heritage 3000 is a unique live performance mixing console that brings complete flexibility to the live console arena. At home in a theatre, an Outside Broadcast Truck, on stage or at front of house, the H3000 offers a unique, easy to use, three position switching system that changes the consoles output functions according to the application.

Interchangeable Modules: The H3000 is easily serviceable due to it's fully modular design. Stereo modules can be easily swapped with mono modules in any input position within the frame.

Frame Sizes: The H3000 has frame sizes from 48 to 56 input frames.

Improved XL4 Mic pre Amp: The H3000 features a new mic amplifier which further improves on the XL4 design giving a CMR improvement of +30dB whilst retaining the XL4's constant HF bandwidth topology which assures excellent amplifiers stability, RF rejection and noise performance at all gains.

Equaliser: The warm, responsive and friendly four band fully parametric XL4 Equaliser design. Enough said.

Direct Outputs: Every input module is fitted with a direct output as standard with its own level control and front panel switching which selects the source from pre / post equaliser.

24 Mix Sends: The 24 mix sends can be easily configured dependant on the required application. Each pair of outputs can either be 2 audio sub groups or 2 aux sends or a stereo aux send (level / pan). These settings are memorised on power down.

Inserts: Each channel has a half normalised fully balanced insert send and return point which can be switched in or out from the front panel and set as either pre or post equaliser.

Spacial Image System (SIS™): Each input module is fitted with the Midas Spacial Image System (SIS™) for use with Left, Centre, and Right loudspeaker systems. When SIS is active, the unique image control rotary fader modifies the action of the pan control allowing the input to be fed into all 3 outputs. This can be particularly useful for distributing the load of high energy, centre panned sounds across all FOH loud speaker arrays.

VCA Groups and Mute Groups: Each channel can be controlled by any combination of the 10 VCA master faders and 10 mute masters. Assignment of these busses can be under automation control. A safe switches can disconnect the channel from all mute groups and / or VCA control.

Link capability: Direct inputs on all outputs allow the possibility to link consoles together or to a sidecar / extender.

Matrix: As standard the 8 matrix outputs derive their signals from the 24 mix sends, left, right and mono masters creating a 27 X 8 matrix.

Automation: The automation system can store and recall up to 500 scenes. VCA sub group routing is automated as well as all input and major output mutes. Input channels and VCA sub group levels can be also controlled via the automation system.

Mechanical and Electronic Design Modules: All modules are extruded to provide exceptional modular strength.

PCB Material: Military specification PCB material (FR4).

Frame: Zinc plated steel chassis in 3 box sections to provide exceptional strength. The audio is separated from digital automation control by the steel chassis along the length of the console. Any interconnections between the two are filtered on both ends of the cable to ensure audio purity.

Faders: P&G faders used throughout.

Amp Design: Low noise summing amplifiers.

Buss design: Hum / noise cancelling busses.

Potentiometers: High cost, hermetically sealed Alps potentiometers used throughout.

Components: Tight tolerance resistors and capacitors used throughout. Stable circuitry design that banishes oscillation.

Weights and Dimensions (WxDxH):

• 48 channel 44 mono/4 stereo 215kg (473.9lbs)* 2268mm (89.29” x 1054mm (41.49”) x 599mm (23.58”)
• 48 channel Bob Tail 44 mono/4 stereo 205kg (451.94lbs)* 2138mm (84.17”) x 1054mm (41.49”) x 599mm (23.58”)
• 56 channel 52 mono/4 stereo 253kg 564.4lbs* 1054mm x 2529mm 41.49” x 99.57”
• 16 extender user specified 64kg (141.1lbs)* 657mm (25.88” ) x 1054mm (41.49”) x 599mm (23.58” )
• *These weights are approximate and taken out of flight case.
• Also available as a bob-tail.

Frames: 16 Extender, 24, 32, 40, 48, and 56 (please note the 16 extender cannot be used with consoles greater than 48 channel).

Stereo: All inputs wired for stereo

EQ: 4 band fully-parametric (XL4)

Direct Output: (front panel switchable and level control)SIS panning with IMAGE control

24 Mix Outputs: (front panel configureable per application)

10 VCAs

10 Automute groups

27 x 8 matrix

Automation: snapshot automation of VCA routing, mutes and all channel and VCA levels

Specifications:

• Technical Overview
• 30 buss console with an additional 27 x 8 output matrix. The busses are as follows:
• 24 stereo or mono configurable groups = 24
• 1 stereo master = 2
• 1 mono master = 1
• 1 stereo AFL = 2
• 1 mono PFL = 1
• TOTAL = 30
• 10 automute sub groups and 10 VCA sub groups which include VCA sub group muting.
• 52 input channels plus an additional 26 direct inputs on the group and master modules.
• Total XLR input count of 95 as follows:
• 52 channel mic inputs
• 24 group direct inputs
• 8 matrix bus inject inputs
• 3 solo bus inject inputs
• 2 master direct inputs
• 2 external inputs (2 track return)
• 1 master bus inject
• 1 talk mic input
• 1 talk external input
• 1 test bus input
• Total XLR output count of 89 as follows:-
• 44 input channel direct outputs
• 24 audio group outputs
• 8 matrix outputs
• 3 master outputs
• 3 solo outputs
• 6 local outputs
• 1 talk external output
• Total of 180 balanced 1/4 inch jacks for inserts as follows:-
• 52 input channel insert sends
• 52 input channel insert returns
• 24 audio group insert sends
• 24 audio group insert returns
• 8 matrix insert sends
• 8 matrix insert returns
• 3 master insert sends
• 3 master insert returns
• 3 local insert sends
• 3 local insert returns
• 58 long throw faders for mix control with fader position recall and virtual fader functions.
• 1043 automated switch functions as follows:-
• 480 input channel VCA sub group virtual assign switches
• 480 input channel mute sub group virtual assign switches
• 48 input channel mute switches
• 24 audio sub group mute switches
• 8 matrix mute switches
• 3 master mute switches
• 89 peak program meters with 20 LED segments on all outputs and 11 LED segments on input channels.
• Technical Specifications
• Input Impedance
• Mic 2k Balanced
• Line 20k Balanced
• Input Gain (all faders at 0dB)
• Mic continuously variable from +15dB to +60dB
• Mic + Pad continuously variable from -10dB to +35dB
• Line Level Inputs 0dB
• Maximum Input Level
• Mic +6dBu
• Mic + Pad +31dBu
• Line Level Inputs + 21dBu
• CMR at 1kHz
• Mic (gain + 40dB) > 80dB
• Mic + Pad (gain 0dB) >50dB
• Line >50dB
• Frequency Response
• (20 to 20kHz)
• Mic to Mix
• (gain + 60dB) +0dB to -1dB
• Noise
• (20 to 20kHz)
• Mic EIN ref.
• 150 Ohms (gain + 60dB) -129dBu
• System Noise
• (20 to 20kHz)
• Summing Noise
• (48 channels routed with faders down) -80dB
• Line to Mix Noise
• (48 channels routed at 0dB, pan centre) -75dB
• Distortion at 1kHz
• Mic to Mix
• (+60dB gain, 0dBu output) <0.03%
• Crosstalk at 1kHz
• Channel to Channel <-90dB
• Mix to Mix< - 90dB
• Channel to Mix<-90dB
• Maximum Fader attenuation
• >80dB
• Output Impedance All Line Outputs
• 50 Ohms
• Balanced Source to drive
• > 600 Ohms
• Headphones To drive
• >8 Ohms
• Maximum Output Level
• All Line Outputs +21dBu
• Headphones +21dBu
• Nominal Signal Level
• Mic - 60dBu to +10dBu
• Line 0dBu
• Headphones +10dBu
• Equaliser
• Hi pass slope 12dB / Oct
• Hi pass frequency continuously variable - 3dB point from 20Hz to 400Hz
• Treble Gain continuously variable +15 dB to -15dB centre detent = 0dB
• Treble Shelving Freq continuously variable - 3dB point from 1k to 20k
• Treble Bell Freq continuously variable centre from 1k to 20k
• Treble Bell Bandwidth continuously variable 0.1 Oct. to 2 Oct centre detent = 0.5 Oct
• Hi Mid Gain continuously variable +15 dB to - 15dB centre detent = 0dB
• Hi Mid Freq continuously variable centre from 400Hz to 8k
• Hi Mid Bandwidth continuously variable 0.1 Oct. to 2 Oct centre detent = 0.5 Oct
• Lo Mid Gain continuously variable +15 dB to - 15 dB centre detent = 0dB
• Lo Mid Freq continuously variable centre from 100Hz to 2k
• Lo Mid Bandwidth continuously variable 0.1 Oct. to 2 Oct centre detent = 0.5 Oct