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OPERATORS MANUAL

Klark Teknik Group,
Klark Teknik Building,
Walter Nash Road,
Kidderminster.
Worcestershire. DY11
7HJ. England.

Tel:+44 1562 741515
Fax:+44 1562 745371

Email: sales@ktgplc.com
Website: www.midasconsoles.com

DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE AVIS: RISQUE DE CHOC ELECTRIQUE. IMPORTANT SAFETYINSTRUCTIONS WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK. . NE PAS OUVRIR These symbols are internationally accepted symbols that warn of potential hazards with electrical products.

.The lightning flash with arrowhead symbol. within an equilateral triangle is intended to alert the user to the presence of uninsulated "dangerous voltage" within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the appliance.

7. stoves. or other apparatus (including amplifiers) that produce heat. Thewide blade or the third prong are providedforyoursafety. such as power-supply cord or plug is damaged. 9. 2. 10. Unplug this apparatus during lightning storms orwhen unused for long periods of time. If the provided plug does not fit into your outlet. Agrounding type plug has two blades and a third grounding prong. 12. Apolarized plug has two blades with one wider than the other. Only use attachments / accessories specified by the manufacturer. 5.1. convenience receptacles. 3. 11. heat registers. consult an electrician for replacement of the obsolete outlet. Servicing is required when the apparatus is damaged in any way. Do not block any of the ventilation openings. 4. and the point where they exit from the apparatus. Keep theseinstructions. liquid has been spilled or objects have fallen into the apparatus. Do not install near any heat sources such as radiators. 6. Read these instructions. Donotusethisapparatusnearwater. Referall servicing to qualified personnel. does not operate normally. Followall instructions. or has been dropped. 13. Install in accordance with the manufacturers instructions. Do not defeatthesafety purpose of the polarized orgrounding-type plug. 8. the apparatus has been exposed to rain or moisture. Protect the power cord from being walked on or pinched particularly at plugs. Heed all warnings. Clean onlywith adrycloth. .

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Worcestershire..... Worcestershire...1A to which this declaration refers. Date: 1st January2004 Name: Simon Harrison Authority: Research and Development Director. the attention of the specifier... Klark Teknik Group (UK) Plc Attention! Where applicable... installer or user is drawn to special limitations of use which must be observed when these products are taken into service to maintain compliance with . Kidderminster. is in conformity with the following directives and/or standards:- Directive(s) Test Standard(s) Generic Standard using EN55103 Limits and Methods Class B Conduct Emissions EN55103 Class B Radiated Emissions EN55103 Fast Transient Bursts EN61000-4-4 Static Discharge EN61000-4-2 Electrical Safety EN60065:2002 UL60065-03 Pending CAN/CSA60065-03 Pending IEC60065-2001 Pending Signed:. Walter Nash Road.. DY11 7HJ.... Kidderminster.. Declare that a sample of the following product:- Product Type Number Product Description Nominal Voltage (s) Current Freq Verona Professional Audio 115VAC 2...... Klark Teknik Building. purchaser..... Walter Nash Road. Klark Teknik Group (UK) PIc of. Fax: +44 1562 745371 Company RegistrationNo: 2414018 KLnRKraDDQE] SIGNAL PROCESSING BY DEFINITION DESIGNEDFOR APURE PERFORMANCE DECLARATION OF CONFORMITY We.2A 50/60Hz Mixing Desk 230VAC 1. England Tel: +44 1562 741515. DY11 7HJ..

.the above directives. Inc. Details of these special measures and limitations to use are available on request and are available in product manuals. ASubsidiary of Telex Communications.

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8 Group Busses and 4 Matrix Busses) for even the most demanding application.Page 11 . also allows the user to route to any of 20 other busses (8 Auxiliary Busses.Thank You for using a Midas Verona mixing consolé. Finally. The Verona is an all purpose FOH. Operators Manual . All backed up. Automutes and Hints and Tips 18 Output Module 19 Output Module notes 20 Groups 21 Matrix 22 Meters 24 Features 26 Setting up the Verona 27 Functional Block Diagrams 33 Mono Input 34 Multifunction Input 35 Group/Matrix Module 36 Master Module 37 Dimensions and Weights 39 Rear Panel Description 41 Specification and Features 43 Crib Sheet 47 NÍEROnK. of course. Enjoy your new Midas Verona Console! Contents ATTENTION: Installation and power 6 Mono Input Channels 7 Rear Panel and Gain 8 Equalisation 9 Auxiliary Outputs 10 Pan and Routing 11 Metering and Automutes 12 Multifunction Input Channels 13 Rear Panel and Gain 14 Channel Equalisation 15 Auxiliary Outputs 16 Pan and Routing 17 Metering. The Verona. In addition the Verona has a flexible buss structure allowing the engineer to mix in stereo or LCR. Please take the time to complete and return the registration card and. Monitor or FOH and Monitor Hybrid console that is quickly and easily configurable. Each mono input channel offers microphone and line inputs. to obtain the best results with a minimum of effort. by the standard Midas Three Year Warranty. also read this operators manual. direct output and insert points and four band sweep equaliser stage. The Verona has been developed to meet the needs of demanding live sound engineers and meets the quality of build and performance that you would expect from a Midas.

90% AudioConnections modulation). it should be located as far away from the console as the connecting cable will allow. However. Also try to avoid placing the console near or on any power distribution units or power amplifiers. Try to avoid placing the console behind pillars or large objects . NÍEROnK. or mixing from a level above the speaker position (e. when positioning the console forfront of house usage it is worth placing the console in a position where the sound system used can be heard properly from the mix position. Operators Manual . Power If using an external power supply. All XLR plugs should have pin one (1) connected to the cable screen. Power Connection Electric Fields The console should only be operated with the power If the console is operated in an electromagnetic field that is supply connected to ground via the ground in the mains amplitude modulated by an audio frequency signal. The power supply should be set for the voltage supply available in your area and plugged into the mains outlet using the cable provided. from a balcony). INSTALLATION Position The position of the console will vary from venue to venue. The console should only be operated with high quality twisted- pair audio cables. Degradation of up to 60dB may be experienced under extreme conditions (3V/m. noise ratio may be degraded.g.Page 12 . ATTENTION The following special limitations must be observed in order to maintain safety and electromagnetic compatibility performance. Alljack connector shells should be connected to the cable screen. All connector shells should be of metal construction so that they provide a screen when connected to the console. the signal to connector.

Operators Manual . All testing and servicing should ONLY be carried out by a qualified engineer.Page 13 . Connections NÍEROnK.THE POWER SUPPLY SHOULD NEVER BE OPERATED WITH THE MAINS EARTH DISCONNECTED Please note that the power supply contains LETHAL VOLTAGES greatly in excess of the mains voltage and that it's rails can produce extremely large currents which could burn out equipment and wiring if shorted.

only high quality screened twisted pair audiocableandmetal bodiedconnectorsshouldbeused. NÍEROnK. Operators Manual .Page 14 .To ensure the correct and reliable operation or your Midas Verona console.

HotSignal Pin 3-Cold Signal MaleXLR Pin 1 .Screen/Ground Pin 2 .FemaleXLR Pin 1 . For increased protection against interference use metal bodied RCAplugs.Cold Signal RCA(TapeIn/Out) Centre .Screen/Ground Pin 2 .Screen The Venice's Tape In/Out sockets are unbalanced and operate at a nominal signal level of-10dBu.Page 15 . NÍEROnK.Signal Surround . Operators Manual .HotSignal Pin 3 .

Operators Manual .Note: Sockets are viewed from the front face.Page 16 . Quarter Inch Jack TRS Signal TRS Insert TRS Headphone Sleeve Screen/Ground Screen/Ground Screen/Ground Ring Cold Signal Insert Return Right Tip Hot Signal Insert Send Left NÍEROnK.

Operators Manual .Page 17 . MEROTIK Mono Input Channel NÍEROnK.

Cold Signal TRS .Page 18 . Ordinarily the two microphones would be out of phase causing cancellation when the console sums the two signals into the output.R. channel signal path so that compressors. one direct output on a single impedance balanced quarter-inch jacksocket one line in quarter-inch TRS balanced jacksocket one micXLRfemale The insert point is unbalanced and requires a conventionally wired insert lead where: Tip . Each mono channel provides one insert point on a singleTRS jacksocket.0 "O opposite polarity to the inputsignal.The ins switch enables the channel insert The red phantom LED will light to indicate point by connecting the insert return to the groups master that48V phantom is in operation. Operators Manual . The direct out and insert points operate at a nominal level of 0dBu. Screen . other devices that require phantom power. Overloads are indicated on the in-channel meter by the red LEDatthetop.The mic gain is continuously variable from +15dB to +60dB (0dB to +45dB groups with the Pad enabled). Mic 0 .1.The mic phase switch. Screen Note: Direct outputs as standard are set post EQ pre mute. condenser microphones. however functionality remains the same — -15dB Pad . Reversing the phase of one signal causes the microphones to have the same phase and no cancellation.Channel Signal Send Ring - Channel Signal Return Sleeve - Signal Common Ground mic» in.3. Balanced XLRand Jack inputs are conventionally wired: XLR . lo-mia □I Front Panel eq eq off on The actual number of mono input channels on your Verona will depend upon your choice of frame.When depressed. however there is an internal jumper which will set them pre EQ and pre insert (referto the service manual or contact your authorised Midas service agent). the Verona will should ideally be set such that peaks in level on apply 48 volts phantom power to the mic gain the input should not cause the input amplifier microphone input.The Pad switch provides 15dB attenuation to the input signal allowing for the connection of high output microphones and line level signals without overloading the channel input amplifier. direct inject boxes and +18dB is too high). NÍEROnK.. The actual value ofthe □'O gain required will depend upon the source and 48V Power . Cold Signal . when depressed. gates I «»TE I O or other dynamic and signal processorsoreffectscan beused. This is used to power to overload (occasional peaks of +12dB is okay. The mic phase switch is commonly needed where two microphones are used facing each other (for example when using a microphone on both the top and bottom ofa snare drum). Mono Input Channels Rear Panel The Verona channel inputs are located on the rear of the console. 48v -15 power pad Mic Gain .T.2. causes a 180 degree phase change (with respect | to the input signal) to occur in the input amplifier such that the channel signal will have io. Hot Signal . micjef ña Ins .S. Hot Signal .

Operators Manual .The high pass switch enables high pass filter on the microphone input. NÍEROniK. bass 30 □ 40 t4 rumble through coupling with the stage or mainshum.Page 19 .The cutoff frequency of the high pass filter is continuously variable o mute m Hi-Pass . This is ~n mute 3 commonly used to remove handling noise. High Pass Frequency .

Page 20 . Operators Manual .MIDAS NÍEROnK.

The centre frequency of the hi-mid equaliser is continuously variable from \. M "15" ^ em ^^^^5 hi mid Wf-^S— Hi-Mid (frequency) . eq eq off on 400 8k NÍEROniK.Page 21 . my 400Hz to □I 8kHz. Treble (frequency) .The centre frequency of the treble equaliser is continuously variable from 2kHz to treble Jr _\ 20kHz. hi-mia lo-mia tji Hi-Mid (Gain) .The gain of the treble equaliser is continuously variable from -15dB to +15dB with a centre detent at 0dB. Mono Input Channels ííí Channel Equalisation Each mono input channel of the Verona has a four (4) band sweep EQ allowing tonal control over the inputsignal.The gain of the hi-mid equaliser is continuously variable from -15dB to +15dB with a centre bass detent at 0dB. Treble (Gain) . Operators Manual .

The centre frequencyofthe lo-mid equaliser iscontinuouslyvariable from Bass(frequency) -Thecentrefrequencyofthebassequaliseriscontinuouslyvariablefrom 20Hz to 200Hz. Operators Manual .Page 22 . Bass (Gain) . lo-mid f Lo-Mid (frequency) ..The gain of the bass equaliser is continuously variable from -15dB to +15dB with a centre detentat0dB.The gain of the lo-mid equaliser is continuously variable from -15dB to +15dB y with a centre detent at 0dB. NÍEROnK. ^K_^f Lo-Mid 100Hz (Gain) to 2kHz.

I MUTE I O I 10 i. Otherwise changes on the lux pre i eq Equaliser controls have no effect. Operators Manual . as well as 1-6. Depressing the EQ Off (Aux Pre) switch causes pre-fader auxiliary sends 1-6 to be sourced before the channel equaliser (Pre-EQ) as the factory standard.0 "O ____=5 0Q J 0 mute f 15 mute3 30 □ 40mute4 MIDAS NÍEROniK.The Equaliser can be enabled by depressing the EQ On switch. Note: Postfader groups master sends are always Post EQ.Page 23 .groups □O Qi . via an internal jumper (refer to the service manual or contact your authorised Midas service agent).ux EQ On . This can be used to compare the sound with and without EQ eq during sound check. the channel signal can be sent to the auxiliary outputs without equalisation. However aux sends 7-8 can be linked to the pre EQ off switch.If desired. of on __________EQ Off (aux pre) .

theactual level senttotheauxbussisproportional totheauxsendcontrol only. EQ and channel Fader. As a result. monitorsorasextraassignableoutputsfromtheconsole. Pre-Fade auxiliary (aux) sends are sourced after the channel Insert. Asaresult. Post-Fade aux sends are sourced after the channel Insert. Mute and EQ but before the channel fader (and EQ if the Aux Pre EQ switch isdepressed). Mono Input Channels ííí Auxiliary Outputs TheVeronahas8auxiliaryoutputswhich can beusedforeffectssends. the actual level senttotheauxbussisproportional totheauxsendcontrol ANDthechannel fader. Mute. hi- .

(You can also use the Direct Out forthis but the output will be at unity). Effects Sends Post Thelevel senttotheeffectsisproportional tothe level on the fader so the balance between wet □I (processed)anddry(un-processed)sound stays the eq eq off on same even when the channel level is changed Therecordingismadeatconstantlevel without any Multi Track Recording Pre (Pre-EQ) equalisation so that changes in the mix level and or Monitorsfrom FOH EQ can be set in post-production. Operators Manual .Page 25 . NÍEROniK. Typical uses of auxiliaries are: lo-mid tji Application Pre/PostFade Reason Pre (Post-EQ) Thelevel in themonitorstaysconstantsothat the engineer Stage Monitors can change the FOH level without affecting the bass performer.

Mixed Recording Post(Post-EQ) If the aux isset to unity. NÍEROnK. Operators Manual .Page 26 . the FOH mix is (for the artist) replicated on the aux output including EQ but excluding PAN.

Operators Manual . Aux sends 1 through 6 are globally switched Pre or Post Fader. However. the auxiliary is sources pre-fader (i.The auxiliary send level is continuously variable from off (-inf) to +6dB. However aux sends 7-8 can be linked to the pre EQ off switch. Aux 7 and 8 may be individually sourced either Post Fader or Pre Fader using the selector switch on the channel and can not be set pre-EQ. groups master I MUTE I O I 10 i. via an internal jumper (refer to groups the service manual or contact your authorised Midas service agent). When depressed. □i-0 □»□ . as well as 16. the channel fader has no effect upon the level of the signal sent to the auxiliary).e. Note: When a channel Mute is enabled. : Aux 7/8 Pre .Auxiliary 7 and 8 sends are assignable Pre of Post fader.Page 27 . Please note that. aux sends for the channel are also muted. auxiliary 1 through 5 sends have been omitted but work in the same manner as auxiliary 6 (illustrated).0 "O ____=5 0 0 0 mute ■ mute3 30 □ 40mute4 -O MIDAS NÍEROniK.= AuxSend Level . for illustration purposes.

□I i. Groups Signal can be routed to any of the eight group busses by depressing the corresponding group selectswitch. 2 & 3 with pan hard left will result in signal being routed to groups 1 & 3 only. The Left signal is routed to the odd numbered buss and the right to the even numbered buss. Forexample: NÍEROnK. This selection.e. Mono Input Channels ííí Pan and Routing The Verona is a flexible mixing console with eight group buss outputs plus stereo and mono outputs. 2 &3 will send to each group equally. Similarly.muteandfader.e. with eq eq off on pan hard right. Selecting groups 1. Operators Manual . 2. is on a channel-by-channel basis and so some may be assigned to the groups as mono or as stereo depending upon the desired usage. bass Post-Pan (stereo) Each pairof groups behave as if they were stereo groups. Groupsendsarepostchannel equalisation. The mono signal is positioned in a stereo field by the pan control. The group sends can be configured in either of two modes:- 1. Selecting 1. This configuration is made by depressing the 'Groups Pan' key for stereo group operation or released for mono group mode. signal will be sent only to group 2. however. hi-mid Pre-Pan (mono) lo-mid tji Each group issentthesamemonosignal. i.Page 28 .

Multitrack Recording The Group would behave in the same manner as the stereo output allowing for separate levelcontrol but retaining the original Alternative/Delay Output Stereo stereo image from FOH. Reason Inputs can be sent to a particular input on the multitrack recorder without Application affecting the stereo image used at FOH.Mono Config.Page 29 . Operators Manual . NÍEROnK.

to hard right with a centre detent and obeys a constant power law (i. The pan control allows Bt groups master pan. However. -3dB at the centre so i0 »0 that the output power remains at unity). The mute a-a status of the channel is indicated by the Mono . 0 mute ■ mute3 30 □ 40mute4 -O MIDAS NÍEROnK. groups signal.Depressing the mono switch routes the corresponding mute LED channel signal to the mono buss (post-EQ. groups master I MUTE I O Pan . the signal is routed ONLY to the mono output creating a LCR (left-centre- right) system instead of the normal LR (left- right) system. "O ____=5 0Q Groups Pan . Group 1-8 . You may use SIS mode if using a centre speaker for speech or solo instruments while retaining the stereo for backing vocalsand pan instruments.Depressing the group switch routes Stereo .Page 30 . the signal is routed to the stereo right output as normal. mute and fader).As described above the Verona's group sends may be configured by depressing the 'Groups Pan' key for stereo group operation or released for mono group mode.The master SIS switch will enable the spacial imaging system whereby the channel pan control operates in a different way.The mute switch mutes the channel described above. mute and fader). groups □ 0i- the channel signal to the group busses as Mute .e. Note that signal will still be sent to the insert point and to the direct output. Master SIS . When panned hard left.The pan control allows the channel signal to be positioned in a stereo field when routed to mono stereo the stereo buss or when group sends are configured to be stereo.Depressing the stereo switch routes the channel signal to the stereo (main left and right) buss (post-EQ.________. when panned centre. similarly when panned hard right. pan. Operators Manual . s i s continuous adjustment ofthe image from hard | left. signal is routed to the stereo left output as normal.

the output of the channel to the Stereo.e. The in-channel meter is especially useful when setting the microphone gain of a channel. when operating from within a booth to hear i selectedsolosandnotthewholeFOH mix. it is possible to see the effect that the channel equalisation has upon the level. □I eq eq off on Note: If Solo In Place is activated on the console. (( )] 1 to show that the channel solo is active.The channel fader allows for continuous adjustment of the channel level from off(-inf) to+10dB. It may be necessary to turn the 5 0 input gain down when excessive EQ is used to prevent the channel from overloading. mute The Left and Right Monitor and the PFL v d console outputs can be used.Normal Level +12dB -High Level □ 0 mute +18dB -Overload(Peak) 5 Note: The LED meter and the direct output are 5 Solo . i0 ia O as the. Mono Input Channels ííí lo-mid tji 4 LED Meter . Channel Fader . the channel signal fed from the same source and are Post-Insert mute 2 2 0 | and EQ but Pre-Fader and Mute.Signal Present 0dB . Also. 0 -18db .Each input channel contains in- channel monitoring allowing the user to S<ODP O monitor the input signal without the need for using the PFL. At 0dB. The solo LED indicator will illuminate by the channel mute or automutes.When depressed. meter is post-EQ. The channel will be sent to the After Fade Listen (AFL) □ stereo and Pre Fade Listen (PFL) mono | mute 3 in-line meter and direct output are unaffected outputs. Mono and Group busses will be at unity (i. for example. gaoups master [ I MUTE I O | 1 groups »0 □O "O ____=5 0Q 1 MIDAS . any active input solos will replace the masteroutputscompletelyuntil thesolo isremoved. no boost or cut in level from the input).

for example: Channels Reason Drum Mics Allows the engineerto mute the whole drum kit at once. switch single or in the combinat desired ion of mute mutes switch. assigned automut Mute e or the 1. Brass. Choir Overheads Allows the engineerto quickly remove all choir mics at once chestra Parts Allows the engineerto zone mics together (e. Note that if any .g.) and mute sections together if they were not playing.The mute is Verona activated has four then the (4) channel automut will be e busses muted that can until all be assigned controlle automut d from es and the the centre channel section mute are of the removed console.3 & channel 4 . etc. Strings. the To mutes assign work like an input a logical channel OR to an where automut any e. (i.2. these output).e. will mute the Commonl channel y. are used to mute similar channels.

0 mute m mute3 30 □ 40mute4 .

Page 34 . Multi Function Input Channel XJEROTIK 1 1 llllllll . Operators Manual .- 1 1 1 1 - L _ _ __ NÍEROnK.

Multi Function Input Channels Rear Panel NÍEROnK.Page 35 . Operators Manual .

Screen .Channel Signal Send Ring - Channel Signal Return Sleeve . Each multifunction channel provides: one insert point on a singleTRS jacksocket. Balanced XLR and Jack inputs are conventionally wired: XLR . one mic XLR female.Signal Common Ground The insert points operate at a nominal level of 0dBu and acts only upon the MIC input. not on the line inputs) and is unbalanced and conventionally wired insert where: Tip . Hot Signal .1. two quarter-inch TRS balanced line in jacksocket inputs. Cold Signal .e. Cold Signal TRS . Hot Signal .The Verona channel inputs are located on the rear ofthe console.R.Page 36 .3.2.T. The insert point operates on the XLR microphone input only (i.S. Operators Manual . Screen NÍEROnK.

Front Panel NÍEROnK.Page 37 . Operators Manual .

direct inject boxes or other devices that require phantom power. each frame functions in essentially the same way. microphone signals from both the top and bottom head ofa snare drum. 48v Power . NÍEROnK.The actual number of multifunction input channels on your Midas Verona will depend upon your choice of frame. with pad enabled). However. 180 degree phase change (with respect to the input) to occur in the input amplifier inverting Ins . the Pad apply 48 volts phantom power the channel's switch has no effect upon the left & right line microphone input to power condenser level inputs. Mic Pad . microphones.The Pad switch provides 15dB attenuation on the input to allow the connection of high output microphones and line level signals (to the microphone input) without overloading the channel's input amplifier. For example. when trying to use limiting or gating ofmicrophone signals). compression. the Verona will Note: On multifunction channels.Page 38 .The insert switch enables the channel the phase of the microphone signal to the insert point by connecting the insert return to channel. Operators Manual . Mic Gain . This allows for to sum two signals that are out of phase which the insertion of dynamic processors or effects would lead to cancellation (especially at low into the signal path (for example.When depressed. This is generally desirable when trying the channel signal signal path. frequencies). The pre-fade channel input level can be monitored on the in-channel LED Mic 0 .The microphone phase switch causes a meter (discussed later in this section). the phase switch has no effect upon the left and right line inputs.The microphone gain is continuously variable from +15dB to +60dB The red phantom power LED will light to indicate (effective channel input gain 0dB to +45dB that phantom power is being applied. Note: On stereo channels.

NÍEROnK. the channel insert has no effect upon the left and right line inputs. Note: On stereo channels.Page 39 . Operators Manual .

The wide stereo image uses phase cancellation techniques to create a 'wider' sounding signal by removing an amount of signal common to both the left and right signals. NÍEROnK. This is commonly used to remove handling noise.Hi-Pass . the channel HPF has no effect upon the left and right line inputs. The pre-fade input signal level can be monitored using the in-channel LED meter (discussed later in this section). Note: The Line and MIC inputs are summed together and can be used simultaneously sharing the channel controls.The high pass switch enables an 80Hz high passfilter on the microphone input. Operators Manual .Page 40 . Note: On stereo channels.The image control controls the stereo image of the channel and is continuously variable from mono through Left-Right stereo to a wide stereo image.The line gain is continuously variable from off (-inf) to +20dB allowing for low level line signals to be trimmed to obtain the optimal signal level. Image . bass rumble through coupling with the stage or mains hum. Line Gain .

o 48V -15 Multi Function Input Channels ííí Channel Equalisation The Verona's multifunction channels each have treble and bass shelving EQ micjf ins and hi and lo-mid sweep EQstages for tonal control.Page 41 . NÍEROnK. Operators Manual .

o

48V -15

■ Treble - The treble shelving EQ gain is continuously variable from -15dB to +15dB.

£ *5

-15 +15
hí-pass

NÍEROnK. Operators Manual - Page 42

o

48V -15

■ Hi-Mid Gain - The Hi-mid gain is continuously variable from -15dB to +15dB.
. Hi-Mid Frequency - The centre frequency of the hi-mid EQ is continuously variable from 600Hz to
8kHz allowing the operatorto select the desired centre frequency for the equaliser

hí-míd
■(( ))■ Lo-Mid Frequency - The centre frequency of the lo-mid EQ is continuously variable from 100Hz to
1.2kHz allowing the operatorto select the desired centre frequency for the equaliser
hi-mid

lo-míü

Mi;

lo-mid ^ ^
eq eq

■ Lo-Mid Gain - The Lo-mid gain is continuously variable from -15dB to +15dB.

EQ Off (aux Pre) - When depressed, auxiliary sends 1 through 6 will be sourced pre-equalisation.
Otherwise auxiliary sends will be sourced post EQ. The use of this option depends upon how the auxiliary
■ Bass Gain - The bass shelving EQ gain is continuously variable from -15dB to +15dB.

sends are to be used. Aux sends 7-8 can be linked to the pre EQ off switch, as well as 1-6, via an
internal jumper (refer to the service manual or contact your authorised Midas service agent).

' EQ On - The channel equalisation stages are enabled by depressing the EQ on switch. Otherwise the
settings of the channel EQ will have no effect.

9

groups

group; stereo

E¡]o

15 mu» 2

musí

40 mute 4|

MIDAS

NÍEROnK. Operators Manual - Page 43

Multi Function Input Channels

ííí
Auxiliary Outputs
Note: Multifunction L and R channel signals are summed into a mono
micjf ins
signaltoberoutedtotheauxiliarybussesbythechannelauxsends.

The Verona has eight (8) auxiliary outputs which can be used for effects
hí-pass
sends, monitor sends or as extra assignable outputs from the
console.

Pre-Fadeauxiliary(aux)1-6sendsaresourcedafterthechannel Insert,MuteandEQbutbeforethechannel fader (and EQ if the Aux
Pre EQ switch is depressed). As a result, the actual level sent to the aux buss is proportional to the aux send control only.

■(( ))■
Post-Fade aux sends are sourced after the channel Insert, Mute, EQ and channel Fader. As a result, the actual level sent to
hi-mid the aux buss is proportional to the aux send control AND the channel fader.
lo-mid

NÍEROnK.Page 45 .o 48V -15 Typical uses of auxiliaries are: Pre/Post Fade Reason tik. Operators Manual . Application Stage Monitors Pre (Post-EQ) The level in the monitor stays constant so that the engineer can change the FOH level without affecting the performer.

Mixed Recording If the aux is set to unity.The auxiliary send level is continuously variable from off (-inf) to +6dB. the FOH mix is replicated on the aux output including EQ but excluding PAN. the channel fader has no effect upon the level of the signal sentto the auxiliary). auxiliary 1 through 4 sends have been omitted but work in the same manner as auxiliary 6 (illustrated). g Aux sends 1 through 6 are always globally switchable pre or post fader. However.o 48V -15 eq eq Effects Sends The level sent to the effects is proportional to the level on the faderso the balance between wet (processed) and dry (un- processed) sound stays the same even when the channel level is changed Multi Track Recording The recording is made at constant level without any equalisation so that changes in the mix level and EQ can be set in post- production. NOTE: Stereo modules can equally be used for mono signals (plugged in via the microphone socket).e. . stereo E¡]o — Aux 7/8 Pre . Operators Manual . The EQ on the stereo channels has fixed frequency high and low sections which are optimised for vocals. the auxiliary is sourced pre-fader (i. When depressed. Aux 7 and 8 may individually be sourced either Post Fader or Pre Fader using the selector switch on the channel and can not be pre-EQ.0 n i5mu»2i 20 □ mute3 40 mute 4| _□ MIDAS NÍEROnK. for illustration puposes. groups ZHZ groups Aux Send Level . (You can also use the Direct Out for this but the output will be at unity). Please note that.Both aux 7 and aux 8 are assignable Pre or Post fader.Page 46 .

The relative odd and even numbered send leveliscontrolledbythepancontrol. Thegroupsendscan beconfiguredin eitheroftwomodes:- ■(( ))■ 14. hí-pass Groups Signal canberoutedtoanyoftheeightgroupbussesbydepressingthecorrespondinggroupselectswitch. hi-mid lo-mid 15.muteandfader. Multi Function Input Channels ííí Pan and Routing micjf ins The Verona is a flexible mixing console with eight group buss outputs plus stereo and mono outputs. Groupsendsarepostchannel equalisation. This configuration is made by depressing the 'Groups Pan' key for stereo group operation or released for mono group mode. Pre-Pan (mono) ThestereosignalsaresenttothebussesasamonosumofL&Rregardlessofthepan control. tik. mono stereo c pan groups stereo groups So □ 0 i- ZHZ 5 9 □1 . Post-Pan (stereo) Each pair of groups behave as if they were stereo groups. eq eq This selection is on a channel-by-channel basis and so some may be assigned to the groups as mono or as stereo depending upon the desired usage which is especially useful if the stereo input is to be used as a mono input. Reason 30 □ mute3 Mono Inputs can besenttoa particular input on the 40 mute 4 multitrack recorder without affecting the stereo image used at FOH. Stereo The Group would behave in the same manner as the stereo output allowing forseparate level control but retaining the original stereo image from FOH. i0 n 15 mu» 2 20 □ Config.

The mute track status of the channel is indicated by the Pan . the 'Groups Pan' key for stereo group operation outputs can be used. pan and fader). signal. or released for mono group mode. 0dB at each extreme). Note that signal will still be sent to the Multi stereo insert point and to the direct output. operating from within a booth to hear selected Depressin solos and not the whole FOH mix. g the Note: That SIS is not available on stereo input channels.e. the channel signal will At all points the pan retains constant power (i.Depressing the stereo switch routes groups the channel signals to the stereo (main left and groups right) buss (post-EQ.For switch routes the channel signals as described example: above. Appl Mono . MIDAS . Alter output power to each the Left and Right ouput. The channel can also be muted by the four (4) where. ut Groups Pan .As described above the Verona's group sends may be configured by depressing The Left and Right Monitor and the PFL console Group 1. reciprocal adjustment of the stereo image rding created by the channel. when 8 . ay outputs. for example. with a stereo signal this will be a balance assignable mute groups which will be explained allowing the user to determine the relative laterinthissection.The mute switch mutes the channel on fader). The solo LED indicator will illuminate to Outp show that the channel solo is active. nativ Solo . any active solos group will replace the master outputs completely until the solo is removed. e/Del be sent to the AFL stereo and PFL mono -3dB at the centre. In the case of a mono microphone signal this will be a simple L-R pan.When depressed. Stereo .The pan control allows continuous Reco corresponding mute LED. Note: If Solo In Place is activated on the console.Depressing the mono switch routes the pan_____ icati channel signals to the mono buss (post-EQ and MQE O Mute .

To assign an input channel to an automute. Brass.3 & 4 . the mutes work channels. ■(( ))■ channel mute is activated then the channel will be hi-mid muted until all assigned automutes and the Commonly.. aux3 ©+6 The multi function channels don't have a specifically labelled direct output BUT. 40 mute 4 groups stereo _□ Choir Overheads Allows the engineer to So quickly remove all choir mics atonce Orchestra Parts NÍEROniN. Strings. 9 I'm running monitorsfrom FOH and I've run out of auxesforeffects. o 48V -15 Multi Function Input Channels micjf ins hí- Allows the engineer to zone mics together (e. □1 5 20 □ mute3 at once.. Operators Manual . these are used to mute similar channel mute are removed (i.g. To add effects to a mono mic input on a multifunction channel. Mute 1. lookat the blockdiagrams later in the manual.2. use the insert send of the channel into the effects unit input groups and the stereo outputs of the effects unit into the stereo line inputs of the same channel on the Verona. etc.) and mute sections together if theywere notplaying. if you are using a microphone input and don't need to use the insert channel. mute the whole drum kit 15mute2 eq eq Multi Function Module hints & Tips I want direct outs for recording but multi function channels don't have any. Use the mic gain for the mic and the line gain for the effect return level. This will work on the condition that you do not activate the insert point on the channel strip (the insert switch) as this will cause signal to the channel to be lost. for example: like a logical OR where any singleorcombination lo-mid ofmuteswill mutethe channel output).. To see for yourself why this works. switch in Note that if any assigned automute or the the desired mute switch.e..Page 49 . Channels Reason Drum Mics Allows the engineer to tik. you can insert a standard unbalanced quarter-inch jack lead into the insert point and use this as a direct output. Now the aux sends and channel fader will control both the mic level and effects return level.The Verona has four (4) automute busses that can be controlled from i0 n the centre section of the console.

Page 50 . input). as level from off (-inf) to +10dB. no boost or cut in level from the channel from overloading. meter is post-EQ. the output of the channel to the the user level. using the but Pre-Fader and Mute. Also.o 48V -15 4 LED to monitor the input signal without the need for Note: The LED meter is Post-Insert and EQ Meter .e. MIDAS NÍEROniN. it is possible to see the g allowing effect that the channel equalisation has upon the At 0dB.The channel fader allows contains The in-channel meter is especially useful when for continuous adjustment of the channel in-channel setting the microphone gain of a channel. It may be necessary to turn the input gain Stereo. channel Channel Fader . Each input PFL. Operators Manual . monitorin the. Mono and Group busses will be at down when excessive EQ is used to prevent the unity (i.

rj- > JG DD FK K I m\ ■i NÍEROniN. -ry. Operators Manual .Page 51 . Output Module groups -auxes -masters -matrices -talk buss -solo control -automutes - HH -ry rr~ -JT- i-p -ry.

Operators Manual . Group Aux Changeover NÍEROniN.Page 52 . Output Module Notes Beforelookingatthefunction oftheoutputsection oftheconsoleitisessential thattheuserisfirstcomfortablewith afewof the consoles features that affect groups. matrixes and auxes. Rather than discuss these features in each section (although they will be repeated there) an understanding of their function in a more general context is desirable.

Operators Manual . NÍEROniN.Page 53 . thatthe Verona isequallyascomfortable as a monitor console as it is as a front of house console. aux What does this actually mean? c/o aux pre Monitor engineers tend to prefer the output faders on their console to operate the auxiliary outputs (for monitors) where Front of House engineers would rather have their output faders for groups (eitherforsub mixes or delay/alternative outputs). Thatis.group The Verona is a dual purpose console.

Each output can be individually'changed over'so that the group output path becomes that of the aux output and vice versa. Why not buya monitor or FOH console? The Verona has been developed with real world sound engineers in mind. The group buss is connected to the auxiliary output pot and to the auxiliary output XLR. Depressing the group aux changeover switch (using a pointed object such as a pencil) will connect the auxiliary buss to the group insert. The Verona achieves this flexibility using the group aux c/o (changeover) switch. This routing flexibility is available on each group/aux buss. Operators Manual .Page 54 . The real flexibility of the Verona is in the speed in which the change over can be made and also the ability to create a hybrid console that can be used for FOH and monitors for the smaller venue where you still need monitors but don't have space or money for a monitor engineer or console. group fader. Meter Changeover NÍEROniN. group mute. group pan and finally the group output XLR.

please refer to the blockdiagram section of this manual. For example. if using the matrix outputs to drive delay speakers. the aux switch will send the aux signal to the meter array (note that. the aux switch should really read group!). the mtx switch will send the matrix signal to the meter array. Operators Manual . it may be desirable to monitor the output from those outputs. NÍEROniN. When depressed. It is possible on the Verona to change the group meters to monitor the aux or matrix output rather than the group output. Note: Meters are Post Fader and Post Mute TIP If you wish to understand more about how the Verona routes it's signals. When depressed.Page 55 . This switch ALWAYS overrides the aux meter select switch and must be released to allow the aux signal to be sent to the meter array. if you have used group aux c/o.

Operators Manual .Page 56 .Direct Inputs The Verona has four (4) direct inputs on balanced TRS quarter-inch jack sockets located next to the matrix outputs on the rear panel which can be used for console linking or effects returns. NÍEROniN.

Page 57 . The direct input level is Level continuously variable from off(-inf) to +20dB. Stereo . Solo .Routes the mono direct input to the main stereo Left and Right busses equally. 1 through 4).e.Routes the direct input to the similarly numbered matrix buss (i. Mtx .Routes the direct input to the mono PFL and stereo AFL buss NÍEROniN.Routes the direct input to the main mono buss. Operators Manual . Mono .

Page 58 . each group can be inserted into by means of a single unbalanced quarter-inch TRS jack conventionally wired (0dBu nominal level). Operators Manual .0 - 2 connected to external equipment by means ofone single balanced maleXLRsocket(0dBu nominal level). tttt In addition [ | SOLO | O to this. group O"meters Verona Group Outputs 1 O™ Each O» Rear Panel group O" 0 buss O can be o - O - o - O - . G r o u p I n s e r t G r o u p O u t p u t XLR Sockets 1 - S c NÍEROniN.

group 1 v ional to the m SIS switch will r e matrix send a enable the T G Pr spacial imaging system whereby the F mono stereo channel pan control Mono . Operators Manual . routed ONLY to to p M the mono output U M r g creating a LCR r tx o Stereo - | (left-centre- ) p When right) system .Page 59 . signal is routed to the stereo left master sis output as \ a normal. This d when panned o F may be a hard right. th e si gn al se nt to th e m at rix se nd po ts is so ur ce d pr e- fa de r an d he nc e th e le NÍEROniN. o depressed. G monitoring aux group However. l pot only. panned centre. n de 5 pr es se d. When panned hard left. when pre O ro b (e.g. instead of the W r the signal will normal LR (left- he t be sent to the right) system. similarly u X e.When depressed. u e stagesidefills) □ aux c/o — the signal is p . operates in a different way. the signal will be sent to the main mono buss via the master sis switch. the a w desirable if g signal is routed r d i using the to the stereo e l matrix for Q ( l recording or right output as normal.

0 NÍEROniN.The fader allows continuous adjustment of the group output level from off(-inf) to+10dB. Operators Manual .Page 60 .Fader .

Page 61 . Operators Manual . 15 20 10 30 40 NÍEROniN.

The matrix signal can be made by combination of | SOLO | O the group buss signals and mono. Verona Matrix group meters O"o + Outputs » o+» 0+< Rear Panel XLR Wiring are Pin 1 -Shield.Page 62 . Operators Manual . to drive additional speaker O-' rear of the console. ided Pin 3-Cold Signal . Unity (0dB) mono g eis also marked on nthe scale allowing a u tsignal to be routed x to the matrix 1 twithout any o MUTE oattenuation or G group 1 gain.Hot Signal. r | SOLO | O t o OO +6 hEach of the u mono master egroups (1-8) has M p U it's own individual A ( m T E matrixsend level. Front Panel The matrix provides another four outputs from the console which can be 'made' from a combination of the consoles other outputs. Pin prov 2. 1 w a OO +6 - | t 8 left master S r O ) L i OO +6 O - | x right master T O h i e s a g X> +10 u r I x c matrix 1 | MQE o a o u x u n O 11 1 p c t o le p i r e v NÍEROniN. one The for □ eac h mat rix outp ut. They can be used OJ scan be found on the o-. O» zones or as effects sends 0-15 from the groups (like the O» Four 0-21 0-24 auxes from inputs) male XLR sockets group 1 enuously variable l from off (-inf) to Q□ s+6dB. left and right master O' Verona'smatrixoutput signals.

Operators Manual . ■ matrix 1 r NÍEROniN.The s p signal to the AFL buss. 1 o ou 0 M u Solo .Page 63 .

Verona Aux Outputs group meters O+o +» Rear Panel O O +12 +15 00 O J „ aux out _ aux out _ aux out _ aux out _ aux out _ aux The O-" out _ aux out _ aux out O^-^ 21 Verona's O-' o-» 80 /^~"\ 'Q^-X 60/^\ ^^^\ 4 °S~\ 3°/^-\ auxiliary 0-15 2 0^-\ 1 outputs can O» 0-21 0. aix aux astei pc/o e Group Aux p3 auxiliary 9 L P described at this se Z ¡yo right depressed. the actual level sent to the aux buss is proportional to the aux send control only. be found on ^9 -9 ^9 24 the rear □ ofthe ^9 ^9 console. g up4 be controlle mast and hence mentally in er 'group'. Mute and EQ but before the channel fader (and EQ on 1-6 if the Aux Pre EQ switch is depressed). put. OLO | | SOLO | O O aux aux do aux M U M group 1 T U E T E Q□ g r mono ^ o | u p S 1 . aux 1 Pre-Fade auxiliary (aux) sends are sourced afterthe channel Insert. As a result. mix ^9 ^9 Eight male ^9 stere o XLR sockets ^-^o ^-^o are provided.Hot Signal. On SOLO |O aux 7 and 8 these are assignable individually pre/post on the channel modules. Pin 2 . Post-Fade aux sends are sourced after the channel Insert. Mute. Pin 3-ColdSignal < f Front Panel grou p1 | SO LO íííí The Verona provides |O eight 9 independen t auxiliary groip outputs 9 which are 2 controlled ©ftm in grou thissection. one for each XLR Wiring auxiliaryout Pin 1 -Shield. O Aux Pre . As a result. This switch can be found | on each of the auxiliaries 1 through 6. the actual level sent to the aux buss is proportional to the aux send control AND the channel fader. EQ and channel Fader.The auxiliary pre switch is the motrt global control which determines whether the xl auxiliary is taken from the input channel pre 00 fader or post fader.

Effect s Auxiliar Sends y Solo - When depresse d. the auxiliary signal is Multi sent to Track the stereo AFL and mono PFL busses.T x hen y A i depresse R d. the Appli T catio auxiliary h n signal is T muted at Stage T every Monit I point ors afterthe master send level. A u 1 x 0 il i a r y M a s t e r L e v e l - T h e o u t p u t le v el o f t h e a u xi li a r y is c o .

Verona Master Outputs .

Operators Manual .inser inser inser t MR t t í\ ML The Verona's main outputs are located on the rear of the console and provide: M C NÍEROniN.Page 67 .

Talk Mic Gain .Enables the Signal Generator ". The solo (AFL L. the talk microphone input is enabled and routed to the talk buss. When enabled. Output Source Connector Nom. Master R RightBuss XLR Male (Bal) 0dBu o + » 0+» 0+o + « MonitorL AFLSolo LBuss XLR Male (Bal) 0dBu 0+15 PFL Out PFL Solo Buss XLR Male (Bal) 0dBu 12 0+o + . -15 O 15 OO-15 -18 O » O -21 O -21 O-1' O 2- Note that these meters are post master fader and postmaster outputmute. -24 gj »+ -24 S+o + » r t 21 o+» o+« O +15 0 +1 2 O +15 0 « 2 O +15 0+» Master Meters O +' O +' O +' O +• 0+5 o +< íííí O +3 O +3 O +" 0021 00 00 l O -3 O-3 OO--3 The master meters show the actual peak ouput level 3 O-3 O-O O O from the console's left. tape inputs (RCA Phono. Operators Manual . OdBu nominal level). O 15 Also provided are Master L-C-R insert points on conventionally wired quarter-inch TRS o» o» O O » O-21 O-21 0o .Page 68 . three or four bands of a crossover system. for example. The solo meters are pre monitor or phones output mute and level and so are unaffected by changes in the headphone level or the level sent to the monitor ouptuts. 0 0 0 stereo right mono 10 mono 10 NÍEROniN.The talk mic socket is a conventionally wired XLR male and is supplied with 48v phantom power allowing the connection of condenser microphones. Generator On . ^MUT^O | MUTE | O left Q^o Talk On . -10dBu nominal level) and Talk <oi-2 Input (Male XLR balanced. AFL R and PFL) buss levels are shown on the solo meters. SoloMeters The Verona provides a signal generator which can be routed to any of the console'soutputs. master Freq .The output frequency of the generator is continuously variable from 50Hz to exííal 0° 5kHz allowing the user to test. right and centre (mono) O -12 O » O -12 O2 busses(PostFader). Alo pfl I---------------------1 monitor phones loca Talk Mic . 0+' MonitorR AFLSolo R Buss XLR Male (Bal) 0dBu O +6 0+ 12 O +6 0+< ___ monitor _______ pfl out ____ monitor Tape Out L Master Left RCA Phono -10dBu 3 0+3 Tape OutR Master Right RCA Phono -10dBu 0+- O 0 O 0 O O -3 TalkOut Talk Buss XLR Male (Bal) 0dBu O -3 O o O0 -6 O-6 O-O O O master master master O6 - ' O-' O/ —-\ R O/-— C vj) —\ L O " O " O O i12 5 O 1. all local outputs are attenuated by 20dB to help preventfeedback. O 24 0 -2» O -24 150 500 * OO nsolo in place groups „I I_ Generator Level . o + . o ™ 0+1.The gain of the talk microphone j aux | |matri^| masters input is continuously variable from +15dBto +60dB. Level Master L Left Buss XLR Male (Bal) 0dBu 0 « 0 + " 0 « tape Master C Mono Buss XLR Male (Bal) 0dBu .The level of the generator output is continuously variable from □a w off (-inf) to+10dB. '™ talk „ talk out 0+1.When depressed.» o jacks (OdBu nominal level).

0+» 0+1' mono stereo mlC ns a ix matrix master local o° ta lk ex t e r nal n solo in place pfi groups Oo auto SOLO +10 mute • □O □o masters pf ra 0+» 0+1 5 0+0+« m 0+™ phones | MUTE | O | MUTE «LJt>0 o |Q O +6 0+O » O » 0+' O +6 0+< n 0+15 12 0+O i t 3 0+ 3 3 0 O OO 0 -3 O -3 O -3 O- 6 0 O-26 O-O o O - ' r O-12' - O O-12 OO 15 O -15 O 15 o-12» o » o » 0 -21 O -21 O0 -2 -24 <oi-24 ght r • +-24 NÍEROniN. Operators Manual . Verona Master Outputs íííí +10 21 S+21 •« o+» o+» o+« O +15 O +15 O +15 0 +1 2 0 « 2 0+» O +' +' O +' O O +• 0+5 +< o O +3 +3 O +3 O C 00 00 O 3 O 3 OO- -3 -3 -3 O.O-O O O O2-12 O » O -12 O -15 O OO » 15 talk O » O-15 external E S group s O -2 0 0-2 O 24 -24 O -24 -1 ' □3- 0 0+1.Page 69 .

When depressed.thetalkbu Note: Essentially with all buttons depressed. the talk themonob Phones/Local Level .l the rear of the console. the talk buss signal is routed to all aux busses. the talk buss signal is routed to the stereo buss. The talk in Mono. sssignal . Stereo . consoles busses (except the local outputs and direct outputs). the talk buss signal is routed to all matrices. the local monitor and headphones signal is sourced from external is routed to the isroutedto the PFL mono signal rather than the AFL stereo default. depressed Matrix . Operators Manual . signals on Phones/Local Mute . the talk buss signal is routed to all the Talk Groups 1-8 . talk in uss. .When depressed.Page 70 . talk mic and generator signals.The local and headphones signal can be muted by depressing the mute switch. enables group buss.When depressed. External When depressed. Talk the talk buss signal PFL Solo .The local and headphones level is continuously variable from out and off (-inf) to +10dB. signal is summed with the internal When Aux . ggg left right mono NÍEROniN.When depressed.

stereo mono 10 0 NÍEROniN.Page 71 . Operators Manual .

Page 72 . Operators Manual . nsolo in place groups O Q Q >|Jo j .matrx| masters pfl I---------------------1 monito phones local ^MUT^O | MUTE | O o t =3o O H H B mono left right mono 10 stereo 10 O 24 00-2 O -2 O -24 -24 master exííal 0° 0+1. 0+» 0+1' 0+» 0+1 5 0+0+« 0+™ 0+O» O» 0+' O +6 O +6 0+< 0+15 12 3 0+3 0+O3 0 O0 OO -3 O -3 O -3 O-0 6 O-6 o-- o O-' O-' O-12 O-12 OO 15 O -15 O 15 o» o» o» 0-12 -21 O-21 O0-2 21 -24 •+ id-24 rght -24 S+21 • « o+» o+» o+« O +15 O +15 O +15 0 +1 2 0 « 2 0+» O +' O +' O +' O +• 0+5 o +< O +3 O +3 O +3 C 00 00 O-3 O-3 OO--3 3 O-3 O-O O O O -12 O » O -12 O2 -15 O 15 OO » O » O-15 -1 ' NÍEROniN.

tape The setting of this depends upon the mono circumstances (and the stereo usage of the centre mono ouptut). Thelevel of the tape input is depressed. Vero control the mono centre speaker. —-4» É a sum of the stereo left and right po~| signals are routed to the mono signal buss via the pre insert switch. Operators Manual . Output Level .Each output level is continuously variable from off (-inf) to +10dB. The tape input on the rear of the console can be routed to Verona Features the main mono or stereo busses by ( pressing the Stereo to Mono MonoorStereoswitches. For example. Otherwise the signal is taken after the stereo inserts. if an íííí independent graphic EQ or +10 limiter is Solo . the tape input signal is routed to the stereo required to AFL and mono PFLbusses. NÍEROniN.When depressed. na 15 20 ■30" Mast 40 er Mute .Page 73 . then it may not be required (or desired) to have the graphic EQ/limiter inserted into the left and right output affect the mono centre. the stereo or mono signal is routed to the PFL mono and AFL stereo uts busses. The controls on this page are those directly responsible for 1 the main outputs from the console. right mono steeo ■ 5 10 10 I íííí Pre Insert stereo signal sent to the mono buss is sourced from the stereo signals before the stereo insert points.When depressed. continuously variable from off (-inf) to +20dB (the nominal input level is referenced to -10dB). Outp 40 30 Solo .Each of the left right and centre outputs have individual channel mutes which mute the signal post fader.

e. information carefully! place auto S ol o in Pl a c e - W h e n d e pr es se d wi th a s m al l o bj ec t (e g.e. (i. these switches are a majorfunction worthy of note (i. effects etc. should be used for Auto Mute Masters . Please read Again. mute all un-soloed inputs). O mute The solo in place function is more at home in studio surroundings where the engineer would expect only to hear active solos through the monitors. ONLY.) is a major for one or a number of channels at once without having to turn down or mute each of the function and undesired channels (which may upset the onstage monitors an hence the musicians!). i. sc re w dr iv er or p e n cil ti p) . It's uses in live sound reinforcement are limited but include: WARNING: masters Solo in place At sound check.Page 74 . th e so lo in pl ac NÍEROniN.The auto mute masters are used to enable the mute groups (1 through 4) as sound check assigned on the input channels. Operators Manual . don't forget that you have them enabled and the this channels assigned or channel mutes will not be released). only those active solos will be heard from the main front of house speakers. e switch causes all active input solos on the console to be exclusively routed to the main outputs of master the console.e. Solo In Place could be used to check or EQ (or adjust insertions. This is a solo ín\____ majorfunction worthy of note. If a solo is in place.

....1.Page 75 ....... MEROriK 1 [ 1 .......... Setting up the Verona ... ...... Operators Manual .1 1- L _ _ ___ NÍEROniN.....

the gain should be positioned between these two points. whereby the microphone pre-amp may be overloaded. If gain. working in the real world. The ideal level for input channels would be around +6dB with occasional illumination of +12dB. to gain an optimal signal to noise ratio without overloading the channel. Clearly. too high a signal level (too much gain) and thereisthechanceofoverloadingthechannel causingdistortion.hereareafewhelpingguidelines. The Effect of EQ Channel equalisation should be used with care. It is worth considering whether such large amounts of EQ cut is really required. should the sum exceed the maximum level. it is unlikely that all channels will receive the same signal at the same time so typically when 48 channels are summed together a gain of around 6 to 9dB will be seen. a maximum level of+ 15dB is required to retain the headroom. exceeds the maximum level into the microphone pre-amp then the channel won't appear to be overloaded but the microphone pre-amp will. taking up valuable headroom. Mono and Multi Function (Stereo) both of also have a mono microphone input. NÍEROniN. In normal operation. Operators Manual . To prevent overload. If a large amount of signal is cut in the equaliser section. the gain must be set to a point that even the highest output from the microphone during sound check hassome headroom left to prevent any surprises during the show! The consoles Busses (e. With it's flexible routing and dual purpose functionality. TIP: You can monitor the level pre-EQ and post-EQ using the in-channel LED meter by switching the EQ in and out during sound check. For engineersthathaven'tgotagreatdeal ofexperiencein livesoundengineering. or whether it is being used rather more as a volume control (in which case the input gain could be set to a normal operating level and the output adjusted onthe channel fader). gain may be used to 'make up' the level lost in the equaliser.Normal operating level + 12dB . the in-channel meter will show the level atthe input in fourstages:- -18dB . Gain The Verona has two types of input channel. Setting Up The Verona The Verona was designed with real world sound engineers in mind. Turning off the equaliser will reveal the true story.Page 76 . Toosmall a signal level (too little gain) and the best signal to noise ratio will not be achieved. Left and Right Main buss) are the point where all channel signals are summed together. Excessive EQ cut can have a similarly undesirable effect. If the maximum output of the Verona channel strip is +21dBu (0dBu = 0. Consider backing off the channel gain when using large amounts of boost (if you have to use large amounts of boost) to retain a sensible level at the output. Microphone Gain +15dBto +60dB (0dBto +45dB with pad switch enabled) Mono Channel Line Gain 0dBto +45dB(-15dBto 30dB with pad switch enabled) Stereo Channel Line Gain Offto+20dB Each channel of the Verona includes an in-line channel LED meter indicating the channel level (measured afterthe channel insert and EQ but before the channel fader). Gain is provided on these channels to allow the operator to obtain the optimal signal for the system.g. Boosting or cutting equaliser bands can make monitoring your actual input level very difficult.775 volts RMS) then imagine the following situation: Headroom is the amount of spare 'swing' available to the system. If 6dB headroom was desired at all times. It is important to leave some headroom in the summing amplifiersso that they do not overload. added to 'make up' the loss in the equaliser.High Signal Level +18dB -3dBbeforechannel overload(clipping) Theinputgain ofthechannel can beusedtoobtain thebestoperating level fortheconsole. However. the input pre-amplifier still has the same amount of available headroom. Excessive boosting of EQ (+15dB is available on each band)will have the same effect as applying more gain to the input. the Verona is as happy running monitors as it is front of house.Signal Present 0dB . Headroom A channel signal is only permitted to swing high and low by an amount fixed by the power supply. With the insert and EQ disabled.

the level returned from the compressor would also be lowerthan +21dBu and excessive use of the compressor'make up'gain would overload the output of the compressor! Unity Gain Unity gain is a gain of 1 (i.Page 77 . the channel gain can accommodate these signals with ease. Some console manufacturers markthe 0dB level of their faders and pots'U'. there are still sources of potential problems. By inserting such a device into the channel's insert point you have the ability to remove the guessworkfrom setting your system gain. Simply. If we have two 0dBu signals entering the Verona (assuming they are coherent -i. Limiters and Compressors have a similar function which is to reduce the dynamic range of a signal.55 volts NÍEROniN. If a signal entered a mono line level input of the Verona at 0dBu and the gain was set to +15dB (an internal 15dB attenuation sets the net gain to 0dB). The channel gain can now be set with adequate headroom to accommodate both loud and quiet signals and the compressor can reduce the dynamic range and 'make up' any reduction in level. If the maximum input level of the compressor was less than +21dBu then it is possible to overload the input of the compressor. But that's just one signal. Bear in mind however.e. When working with varying signals(such asthevocalistdiscussed earlier) itmaybedesirabletoreduce the dynamic range of the signal so that the loud parts aren't so loud (and don't overload your channel input) and the quiet bits aren't too quiet (so the signal to noise ratio would be increased).e. the channel fader was set to 0dB and each output fader was set to 0dB.775 volts = 1. these devices have the ability to reduce the level of loud signals automatically and also raise the gain to 'make up' the level as desired. However (and this is a big however). 0dBu = 0. The Verona is able to operate at levels up to +21dBu on both the insert send and return. Setting Up The Verona Dynamic Processing When working with signals that are constantly at a high level.775 volts 0. no gain or attenuation is applied to a signal). the output would no longer be 0dBu.775 volts + 0. then the signal was routed to each output at 0dB. The means by which they do this won't be discussed here but. the output should be 0dBu (or unity). Operators Manual . Simple. The only way to resolve this situation would be to drop the channel input gain so that the input level of the compressor was not being overloaded. the same level and phase) to be summed in the busses.

1.775 volts -6dB (ora gain of 1/2) So each fader must be reduced to -6dB to retain the unity gain level of 0dBu on the console output.3875 volts is 0. With real world signals. If you have a sinusoidal input that is nominally 0dBu on all 48 inputs with the channel faders at 0dB. 0. the faders must be reduced to -12dB. the output is likely to be well above the 21dBu maximum output of the console and leave no headroom spare. Operators Manual .3875 volts 0.775 volts/2 = 0.775 volts +6dB (or a gain of 2) To retain an output of 0dBu (our previous unity level) each input must be reduced. 48channels summed together will give around 6 to 9dB gain because it is unlikely that all 48 channels will receive the same signal at the same time. NÍEROniN. but the principal is the same.Page 78 . Instead signals will occur at different times. and there will be cancellation due to phase and frequency differences.55 volts is 0. Real life signals are not continuous. When using four inputs at 0dBu.

Operators Manual .Page 79 .NÍEROniN.

Setting Up The Verona Signal Processing and Amplifiers .

There are a number of solutions to this problem: Reduce the amplifiers input attenuators to a level where the amplifier and console clip at the same point. Beyond this sensitivity. That is. others use 0dBV (1 volt RMS) others use different levels. Finally. Operators Manual .theoutputoftheVeronaishigherthan themaximum inputlevel ofthegraphic.g.The final links in the system tend to be graphical equalisers. For many amps this is 0dBu (0.775 volts RMS). -21dB may not be a sensible level to set as many operators choose not to run the output of the console so high. That is personal choice. anybooston the processors outputs (say you want 3dB more bass) will cause that output to overload earlier (in this case 3dB before the other outputs). Ifthe input level to the processor is too high. the input maybe overloaded and introduce distortion into the outputs (and to the speakers!). the amplifiers output will not be able to produce any more power and 'CLIP' (usually indicated by some serious looking red lights). (lower input gain and check) (disable eq and check) (disable eq and check) (disable insert and check) (Check CLIP lights on amps etc. Graphical equalisers have the same problems as the Verona's EQ. and may suffer a reduced signal to noise ratio especially when running over long signal cables. an input signal level that causes the amplifier to produce it's maximum output level. If something sounds distorted check: Input Gain too high? EQTOO Much Boost? EQToo Much Cut coupled with a High Input Gain? Too High a level into Inserted Processor? Clipping Loudspeaker controller or Amplifiers NÍEROniN. Loudspeaker processors have similar problems. But the amplifiers should be saved from clipping. Sending +21dBu level from the Verona will clip the output of most amplifiers causing damage to your loudspeakersystem. If excessive boost is applied to the signal. amplifierscan introducethemostinterestingresults. So operating the console sensibly the amplifier should never be clipped.) As with many things in the audio world. e. The console led Meters will also accurately show the available headroom left in the entire system. An amplifier has a sensitivity. setting the input attenuator on the amplifier to -21dB would mean that the console would clip at the same time as the amplifier. In addition to this. If. use your ears. The input sensitivity is 0dBu. Run the output of the console at a level below 0dBu This solution means that you won't get full benefit of the console.Page 81 . loudspeaker processors and finally amplifiers and speakers.theinputofthegraphicmaybeoverloaded. the graphicequaliser'soutputmaybeoverloaded.

Page 82 . Operators Manual .NÍEROniN.

The group level can be used to control the overall level of the channels 0 (retaining their relative levels). as normal. etc. Operators Manual . The usage in thissplit mode can be any combination of the above! Note: When the group aux changeover switch is depressed.. delay. Make sure the group is not routed to the main outputs. use the automute facility. etc. . If channels in a submix are required to be muted.g.Page 83 .. it is either too expensive or undesirable to apply processing to each channel individually (for 20 example: compression on a whole choir. Setting Up The Verona Routing The flexible routing of the Verona allows the console to operate as both a Front of House (FOH) and Monitor console. etc.. EQ. Common EQ/Processing 10 5 Often. Orchestras.e. The monitor levels are now individually controllable on the group faders. For example: Multiple Microphones for Choirs. Alternative Outputs aux 1 example:. Now the desired processor can be inserted into the group 40 inserts applying the process to all of the submix channels (in their relative levels).).. Channel signal should be sent to the auxiliary as required and the aux sends should usually be configured to pre- fader. | SOLO |O roup_________ aux pre Monitor Mode The group aux changeover switch on each group should be depressed (i. control over the groups is performed by the auxiliary controls and hence. Submixes could be used by connecting the auxiliary output NÍEROniN. not to the master L-C-R). used to set the relative level between the channels in the submix. off) so that the group fader controls the group buss signal for FOH. Setting up a 30 submix as above.. MUTE O The channel to be submixed should be routed to the group and any aux sends ONLY (i. | SOLO |O The submix is now set up.e. or as a combination of both.. The console group output sockets should be wired into the necessary amplification and the insert points into any necessary processing (e. off) so that the group fader controls the group group pre buss signal..g. The group outputs should be wired into the necessary amplification and the insert points into any necessary processing (e. on) so that the group fader controls the aux buss signal for monitors or released (i. EQ.). you were mixing a number of speakers in a venue and each needed a different level and processing. Dual FOH/Monitor Mode The group aux changeover switch on each group should be depressed (i. here are a few helping guidelines.). □1 Uses for groups vary. etc . Front of House Mode group aux group 1 The group aux changeover switch on each group should be released (i. Aux sends and other group sends will remain active. graphic eq on a number of microphones. butinclude: 0 mono stereo □2 Submixes n Submixes are a common way of saving time (and possibly embarrassment) when using a large number of microphones at once. and group outputs may still be used.e. Note: Muting the submix is not the same as muting the channels. The levels are now individually controllable. on) so that the group fader controls the aux buss signal. The fader is. mute the submix output or solo the submix signal. Drum Kits/Percussion.e. the signal is grouped together. Route the desired channels to any group or master output as necessary. For operators that haven't got a great deal of experience. The group 1 group chosen for the submix should then be routed to the master L-C-R and panned as required.e.

sockets on the rear of the console to four unused stereo input channels and routed to the Left and Right master busses. .

Page 85 . Operators Manual .NÍEROniN.

.......1 1- L _ _ ___ ..... Functional Block Diagrams ....... MEROriK 1 [ 1 ........1..... ...

Page 87 . Operators Manual .NÍEROniN.

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....... Dimensions and Weights ...........1..Page 101 .... Operators Manual . .... [ L_ _ ___ NÍEROniN.... MEROriK 1...1 1..

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Rear panel
Description
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NÍEROniN. Operators Manual - Page 103

Specification and
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NÍEROniN. Operators Manual - Page 105

8 Group Outputs With Aux/Group Changeover option for dual purpose FOH/Monitor applications 4 Band Equaliser Mono Channels: 4 Swept Frequency Bands (Treble. Hi Mid. The thirty-two channel Verona features: 24 mono input channels 8 stereo input channels 8 Auxiliary Outputs 1 through 6 with Global Pre/Post Fader selection and selectable Pre/Post EQ 7 & 8 with Channel selectable Pre/Post Fader selection and jumper selectable Pre/Post EQ For jumper selection configurations. Inputs Microphone XLR(f) 1k5 ohm Yes Variable (+21dBu) 32 M Ch Line Input 1/4"TRSJack 10kohm Yes Variable (+36dBu w/pad) 24 MF Ch Line Input 1/4"TRSJack 10kohm Yes Variable (+26dBu) 16 Direct Input 1/4"TRSJack 10kohm Yes Variable (+26dBu) 4 Tape Input RCAPhono 47k ohm No -10dBu(+26dBu) 2 TalkMic XLR(f) 1k5 ohm Yes Variable (+6dBu) 1 Talk Input XLR(f) 10kohm Yes 0dBu (+26dBu) 1 Direct Out 1/4"TRSJack 100ohm Impedance Bal. contact you local Midas service agent. Operators Manual . Stereo Channels: Fixed 80Hz) Signal Generator 32 Channel Inserts (jumperselectable pre/post insert and eq) Type Connector Impedance Balanced Level Nom (max) No. 0dBu (+21dBu) 24 Groups XLR(m) 50 ohm Yes 0dBu (+21dBu) 8 Auxiliary XLR(m) 50 ohm Yes 0dBu (+21dBu) 8 Outputs Matrix XLR(m) 50 ohm Yes 0dBu (+21dBu) 4 Talk Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 1 Master Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 3 (LCR) Monitor Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 2 (LR) PFLOut XLR(m) 50 ohm Yes 0dBu (+21dBu) 1 (M) Tape Out RCAPhono 600 ohm No -10dBu(+11dBu) 2 Headphones 1/4"TRSJack To drive headphones > 100 ohm +10dBu(+21dBu) 1 Input 1/4"TRSJack 50/10kohm(s/r) No 0dBu (+21dBu) (send/ret) 32 Group 1/4"TRSJack 50/10kohm(s/r) No 0dBu (+21dBu)(send/ret) 8 Master 1/4"TRSJack 50/10kohm(s/r) No 0dBu (+21dBu)(send/ret) 3 Total XLR inputcount 34 Total Jack input count 44 Total RCAPhono inputcount 2 Total XLR outputcount 27 Total Jack outputcount 25 Total RCAPhono outputcount 2 Total insertcount 43 O XLR NÍEROflíK.Page 106 . 2 Swept Frequency Bands (hi mid. Lo Mid. Bass) Stereo Channels: 2 Shelving Bands (Bass. Verona Features The following list of features is based upon the thirty-two channel frame size console. lo mid) 48 volt phantom power independantly switchable on each channel (always on talk mic) Hi-Passfilteron all inputs (Mono Channels: Variable 20Hz to 400Hz. Treble).

NÍEROflíK. Operators Manual .Page 107 .

Page 108 . Verona Specification NÍEROniN. Operators Manual .

Page 109 .Internal Power Supply Type Switching 90- Line Voltage 240VAC Line Frequency 50/60Hz NÍEROniN. Operators Manual .

InputImpedance NÍEROniN. Operators Manual .Page 110 .

Operators Manual .Page 111 .Microphone 1k5 ohm Balanced Line 10kohm Balanced NÍEROniN.

Operators Manual .Page 112 .InputGain (all fadersat0dB) Microphone Continuously variable from +15dBto +60dB Microphone + Pad Continuously variable from 0dB to +45dB Mono Channel Line Continuously variable from 0dB to +45dB (- 15dB to +30dB Pad enabled) Continuously Stereo Channel Line variable from off to +20dB Continuously DirectInputs variable from off to +20dB NÍEROniN.

Operators Manual .Page 113 .Maximum Input Level Mic +6dBu Mic + Pad +21dBu Mono Channel Line +21dBu (+36dBu pad enabled) Stereo Channel Line +26dBu NÍEROniN.

Operators Manual .CMRat100Hz Microphone (Gain+40dB) Typ95dB Microphone + Pad (Gain 0dB) Typ80dB Line (Gain 0dB) Typ 80dB CMRat1kHz Microphone(Gain +40dB) Typ95dB Microphone+ Pad(Gain 0dB) Typ80dB Line (Gain 0dB) Typ 80dB FrequencyResponse(20Hzto20kHz) MicrophonetoMix +0to-1dB NÍEROniN.Page 114 .

Page 115 . 150 ohms (Gain +60dB) -129dBu System Noise (20Hz to 20kHz) Summing Noise (48 channels routed with faders down) -80dB Line to Mix Noise (48 channels routed at 0dB.Noise20Hzto20kHz Microphone EIN ref.03% NÍEROniN. Operators Manual . 0dBu output) <0. pan centre) -75dB Distortion at 1kHz Microphone to Mix (Gain +40dB.

Operators Manual .Crosstalkat 1kHz NÍEROniN.Page 116 .

Mute Attenuation -90dB □5 -90dB >100dB >100dB NÍEROniN. Fader Attenuation □4 Max. Operators Manual .Channel to Channel □3 Mixto Mix Channel to Mix -90dB Max.Page 117 .

Output Impedance NÍEROniN.Page 118 . Operators Manual .

Operators Manual .All Line Outputs 50 ohms Balanced Source to drive > 600 Ohms Tape Output 600 ohms unbalanced Direct Output 100 ohms impedance balanced Insert Output 50 ohms unbalanced Headphones to drive > 100 ohms NÍEROniN.Page 119 .

Page 120 .Maximum Output Level All Line Outputs +21dBu Headphones +21dBu Nominal Signal Level Micropho -60dBu to ne Line 0dBu Headpho 0dBu nes +10dBu NÍEROniN. Operators Manual .

Operators Manual .Page 121 . Verona Specification Equalisation NÍEROniN.

Page 122 .Mono Hi-pass slope 12dB/octave Channels Treble Band Cut/Boost +/-15dB Frequency range 2kHz to 20kHz NÍEROniN. Operators Manual .

Page 123 .Hi Mid Band Cut/Boost +/-15dB NÍEROniN. Operators Manual .

Frequenc
y range
400Hz to
8kHz

NÍEROniN. Operators Manual - Page 124

Bandwidth 1 Octave

NÍEROniN. Operators Manual - Page 125

Lo Mid Band Cut/Boost +/-15dB

NÍEROniN. Operators Manual - Page 126

Operators Manual .2kHz Treble Bandwidth 1 Octave Band Cut/Boost +/-15dB Frequency (- 3dB)100Hz NÍEROniN.Page 127 . Hi Mid Band Frequency range 100Hz to 2kHz Bandwidth 1 Octave Cut/Boost +/-15dB Frequency range Lo Mid Band 20Hz to 400Hz Stereo Cut/Boost +/-15dB Frequency (- Channels 3dB)12kHz Bass Band Cut/Boost +/-15dB Frequency range 600Hz to 8kHz Bass Band Bandwidth 1 Octave Cut/Boost +/-15dB Frequency range 100Hz to 1.

Operators Manual .Power Supply Information The number of power supplies shipped as standard with the Verona varies with the frame size as follows: NÍEROniN.Page 128 .

Page 129 .Channels Internal 001 NO 24-32 40 . 122 Redunda YES 56 64 External ncy YES NÍEROniN. Operators Manual .

Page 130 . To console Connection 6 Pin Male XLR Pin 1 Front View Rear View 0V Analogue Pin 2 + 18V Analogue ij Pin 3 ■si -18V Analogue Pin 4 + 12V Gooseneck Light Pin 5 +48V Phantom O. Servicing and Maintenance Both the Verona and the Midas V190 linear external power supply both contain potentially lethal voltages and should only be serviced by authorised Midas service agents. Due to a policy of continua! improvement. In the event of malfunction. The external supply has a "daisy chain" facility (as shown below) allowing for a number of power supplies to be used together adding redundancy to the system in the event of a power supply failing. To subsequent supplies Under NO circumstances should the Venice series power supply be used with the Verona. Midas reserves the right to alter the specification and performance at any time without prior notification. NÍEROniN. please refer servicing to qualified personnel. Only the Midas V190 Linear External Power Supply is approved for use with Verona consoles. Operators Manual . Pin 6 0V Gooseneck Light 4k Case Chassis O. Contact your Midas dealer for more information. The external power supply can be used to add or increase redundancy or to replace the internal supplies.The internal supplies on the 64 channel Verona should be switched on at approximately the same time so that excessive load is not applied to any single supply.

Crib Sheet Mono Input Notes: .

Crib Sheet Multi Function Input Notes: .

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specification and features may be subject to change without notice.1 . Midas Verona Operators Manual Issue 1.February 2004 DOC02- Verona Due to a policy of continual product improvement. .