by Pete Tidemann

Midas consoles have been a mainstay in the pro audio industry for many years, particularly in the touring market with the high-end XL3 and XL4 boards. Recently, Midas released their new Heritage line of consoles: multipurpose desks that were built to serve a variety of needs. The Heritage 1000, 2000 and 3000 consoles have a price point far below that of the XL4 series, but employ much of the same technology.

I had assumed that the Heritage 1000 was nothing more than the scaled-down version of the 2000 and 3000 consoles. On the contrary, I found that it is quite different than the other consoles in a variety of ways.

To properly evaluate the design and capabilities of the Heritage 1000, I brought it to Audio Visual & Film Group, Inc. (AVFG) in Minneapolis, Minnesota, a staging company specializing in special events throughout the US. Along with senior engineer Paul Smith, we set up the console to use for AVFG's own Tech Expo presentation, an exhibition of video, computer graphics, lectern and lavalier microphones, and surround sound.

Input Channels
For the purposes of this review, Midas provided us with the 56-channel Heritage 1000 ($77,525.00), although it is also offered in 24- ($45,930.00), 32- ($53,438.00), 40- ($61,222.00)and 48-channel ($69,374.00) frames. The input channels have an EQ using the renowned EQ technology from the XL4: fully parametric low-mid and hi-mid bands while eliminating only the Q on the low and high pots. We used the high-pass filter on the EQ to roll off the unwanted low end in our lectern and lavalier microphones.

The small changes I made on the EQ for the microphones were heard immediately, even at the tightest Q. Based on my experience with the larger, more expensive Midas boards, this console's EQ section holds true to the standard.

Just because you want a smaller frame console for your house of worship does not necessarily mean that you have to give up available inputs on the desk. A unique feature on the 1000, not found on other Heritage series consoles, is an A/B input switch. This allows the engineer to have a set of "B" inputs to be used as redundant channels for back up sources or simply as extra inputs when the need arises.

Also on the back of the console channel strip is an XLR direct output, with a pre/post switch but no level control as the 2000 and 3000 have. I often use direct outputs for critical record feeds that need to isolate individual channels, such as the lectern microphones or to have multiple outputs to record to multi-track tape or hard-disk recorders.

Each input has long-throw faders with an 18-segment LED meter next to each channel. I like this feature because it provides a visual reference of the signal input on each channel without having to "solo" it and look to the master section for the metering. To listen to individual channels, you can push the solo button at the bottom of the each channel or buss. This allows you to hear the signal in your headphones and get a meter reference before bringing it up in the PA.

Insert points
Sometimes you need to be able to insert EQ's, noise gates or compression on individual channels to help control the signal. For this purpose, Midas has provided ¬-inch balanced send and return insert points on every channel, every auxiliary send, each matrix and group output, and of course the main output section. This is important because a fully balanced audio system can prevent ground loops and system hum. Some other manufacturers choose unbalanced insert points to save money.

Auxiliary Sends
In many church services and other productions, audio is routed through auxiliary sends to stage monitors, effects such as reverb, or perhaps an overflow room. On the Heritage 1000, there are ten auxiliary sends for each channel that can be routed pre- or post-fader for individual audio sends. Aux 1 - 6 are mono while 7 - 10 can be configured in mono or stereo with one pot becoming the level control and the other one a pan pot for left/right assignment. This would be useful when you have in-ear monitor systems to control for the main performers.

These aux sends need to be turned on before they will work via the console assignment module, indicated by an LED next to each send on the input. This is a departure from the normal hard-wired switch next to the pot to turn on/off the auxiliary sends. I found that it was quite easy to use the assignment module, just a change in thinking and a new way to do it. The mute scenes, VCA and group assignments are also handled in the same simple manner.

In the master section, Midas incorporated a unique feature to allow the user greater flexibility and control. The pots for the aux masters can be swapped with the faders of the group outputs, giving the engineer the choice to fader mix the outputs of either group or auxiliary sends.

Master Section
By far the most exciting features are in the master section of the console. This is a true left-center-right console via the Midas Spacial Imaging System (SIS). On an input channel, when switched into SIS mode, placing the pan pot straight up (12 o'clock) sends the signal only to the center output of the desk and the same if panned right or left. If your church only has a stereo speaker configuration, you can use the center channel as a mono feed to the narthex/lobby or other worship areas.

I loved the matrix section of the console because it included the 10 group pots, as well as pots for the main left, center and right outputs. I used the matrix section to send audio to delay speakers, front-fills, record feeds and other applications. One unheard of feature on the matrix is the Change Over switch, which changes the sub-group sends to the auxiliary sends in the matrix outputs. Now you can route any of the signals on the console to the matrix outputs!

Automation & Surround Sound
I have worked on various Christmas events where the Heritage 1000's automation feature would have fit right in. This console automates several things on the desk: VCA level and assignment, mute scenes, aux on/off, and sub-group routing. There are 99 acts and 99 scenes within each act that can be programmed.

For our event, we set up the board so that when we selected the act/scene and hit the Go button, several events took place simultaneously. It un-muted the certain channels, set the level and assignment of the VCA's, turned on the auxes, routed the signal to groups 1 & 2 for surround speakers, as well as triggered the 6 simultaneous .wav files from a computer running a software program called SFX.

The desk does not have to be run from automation all of the time, you can grab a fader at any time to adjust levels or only run a portion of the desk in the automated mode. Note that the VCA level automation does not have moving faders. It operates from what is called the Virtual Fader Mode and LED lights next to each VCA tell you the level that it is operating at. The 1000 can also be linked to any of the other Midas Heritage or Legend series consoles, a feature I consider as well thought out.

Your Way or My Way
The console's configuration is really up to the user, and the Heritage 1000 can be ordered in many ways depending on your application. Each module and input on the desk is an individual strip that can be pulled out and replaced. You can configure the board to have as many mono, stereo inputs or matrix outputs as you have space for in the frame.

The console was extremely quiet in operation both before we plugged things into it and after. Sometimes I couldn't even tell it was on before playing a cue through it. The grounding in the board is rock solid, even plugging in other electronics with the signal grounds connected gave us no ground loop hum (not that I'd recommend this procedure).

You can also configure the 1000 offline using your laptop or PC. Midas software will allow you to set up all of the automation and assignment features and then download it via an RS232 port into the desk. I did not have the opportunity to view this software but the idea is great, even for daily use in Sunday worship where you might need to set up the board during the week. Sometime in the near future, Midas will plans to add an LED strip that allows you to input the name of each channel on the desk. No more messy board tape!

I found the Heritage 1000 to be fully capable of handling the event with AVFG, and expect it would meet the challenge of most churches.

Pete Tidemann is principal of Linear Velocity, an audio consulting firm based in Minneapolis, MN. He can be reached at hanzlander@earthlink.net.