Review: Midas Pro 1

Next step is to choose how you will allocate your DSP processing between effects and graphic EQs. There is plenty of processing available on the Pro 1. You can choose combinations between six effects and eight graphic EQs, through to one effect and 28 graphic EQs. As I would be providing six sends of foldback I went with the first combination, using a graphic EQ for each of my six foldback sends, leaving two spare for FOH duties. After routing Buses 1-6 to the physical XLR outputs on the rear of the Pro 1, I then assigned the Graphic EQs to those buses, set them to pre-fade and was done.

At first I must admit I found starting from scratch with the routing on the Pro 1 a bit of a chore, and thought to myself, ‘What’s the point?’ But then I got to thinking, there’s a lot packed into this small console. It’s not just a one-trick pony that would warrant being pre-set. The Pro 1 can access up to 100 inputs, 102 outputs, and process 40 input channels and eight returns with full EQ and dynamics processing, as well as provide mixes to 27 buses. Effectively, the Pro 1 with two Midas stage boxes could handle FOH duties on a dual stage festival setup with 40 input channels per stage and still allow for instant changeovers by simply recalling the next scene. Try that on another 19-inch rack-mountable mixer!

GETTING TO THE MIX

But how could you possibly control those 40 inputs effectively on the 16 faders supplied on the Pro 1? Well, Midas has given that some thought too. While most digital desks use a layers system to get at all the input channels, Midas has a different approach. The faders on the Pro 1 are split into two groups of eight with the left most fader group designed to be used for channels, and the right, VCA groups. Page buttons are provided beside the left fader group to allow you to access the channels beyond the first eight. Also an Extend button will make the right VCA faders into channel faders if this is your preference. Holding down a VCA Group on the right and selecting channels from the left fader group assigns them to that VCA master, which you can separate be name and colour.

In my case, the most complex band I worked on was a five-piece pop/rock band, so as well as having the usual VCA groups of Guitars, Keys, Vocals, etc, I also set up an effects return on a VCA too. Nothing groundbreaking so far, but here’s the twist; now that I’d assigned all the channels to VCAs, when I selected any VCA it brought only its channel members to the left fader group. So when I selected the Vocal VCA group, my left bank of eight faders only show my six radio mics on inputs 19-24 and all a pretty blue — genius! This is a far cleverer way to access channels than searching down through the main channel faders to find them. And if that’s not enough there are six POP (Population) groups available, which are similar to a VCA’s grouping, just without a fader. Pressing any of the 16 bus buttons brings them to the faders and a similar function called Collapsed Flip is available so only channels contributing to the selected bus appear on the left faders. There are also eight rotary encoders and eight buttons above the left fader bank which vary in use depending on where you are on the screen. These can also be custom programmed to be whatever you like when in the home screen.

WINDING UP THAT SOUND

I was fortunate in that we had the venue for a full day previous to the show and a common backline between bands. This meant I had the full day to bump in and pull sounds without the pressure of an anxious band and TV producer breathing down my neck. And I must say, it was a pleasure. From the beginning of soundcheck I was impressed. The built-in Klark Teknik DN370 graphic EQs sound great and did an admirable job of sorting out the room resonances.

The Midas mic preamps carry a lot of hype and deservedly so — on drums they absolutely sing. It’s the oldest trick in the book for Midas engineers to run the mic pres hot to really hoe into their pleasing saturation. But on a typical digital console it’s not easy to push the mic pre into saturation as gain structures will generally digitally clip the input before the mic pre saturates — they are in effect hard wired and factory set. Midas gets around this limitation by providing both analogue and digital gain stages. These are available on the same knob with a ‘swap’ button to switch between them. You can wind up the analogue gain for some pleasant harmonic saturation, and then use the digital trim to set your gain structure. Ah, makes me forget I’m on a digital console!

DYNAMIC IN THE DETAIL

As you would expect, the Pro 1 is feature laden but it’s the small details that make all the difference. EQ-wise — high- and low-pass filters are available with switchable slopes plus a four-band parametric EQ with a choice of four different filter types for the high and low bands. Some of these EQ shapes are derived from past Midas analogue consoles in case you’re feeling nostalgic. The dynamics section is equal to any task with four different styles of compression available. Gating is as you would expect. All sections contain a button that when pressed brings it to the screen, with well thought out visual representations, the gate graphic in particular makes setting it a doddle. Copy and paste is also well implemented, taking in whatever is currently on screen. If you want to copy one vocal EQ to another channel, press the button in the EQ section to bring it to the screen, press Copy, select the channel you want to paste it to and hit Paste. Being in the channel overview screen means all settings can be copied. ‘Group’ and ‘All’ are available options for pasting to multiple channels.

The effects on the Pro 1 are also outstanding. The Midas and Klark Teknik link is apparent with a few KT classics featured, such as the DN 780 multi-effects unit and the more recent SQ1 dynamics processor. There are also the usual suspects from delays and choruses, to pitch shifters, reverbs and multi-band compressors. And the version two software update adds even more. All effects can be used ‘send and return’ style or inserted on channels.

LITTLE GUY, BIG SOUND

Which brings me to the sound. Quite simply, brilliant! You will be hard pressed to find a better sounding console at any price point. Everything about this console oozes quality. From the moment you pull your first kick drum sound everything just feels right. Sure it’s a digital console and there is a learning curve but with your hands on the controls it feels very analogue. As you sweep a parametric EQ the image is rock solid stable. It never sounds like something is stepped or shifting — no matter what you do. This is in part due to Midas’s 96k internal processing and delay compensation management that keeps everything travelling through the console sample and phase accurate.

I will admit to being a little apprehensive about doing such a high pressure gig on so few faders but the way the Pro 1 VCAs function makes navigation easy. After working this way I wished all digital consoles did. My only minor gripe? When I reach for a compressor I would prefer the default setting not to be infinity to 1! And whilst I’m at it, the EQ default Q of .27 is a little sharp for me. Of course if I owned the console I would just change these defaults to what ever I wanted and save a new show file. That’s part of the beauty of the Pro 1 too. It’s incredibly versatile. It’s crazy to think this little rack-mountable mixer can be a 27-send monitor console. If you’re in the market for a high-end console and are not scared by a small footprint, the Pro 1 is a no brainer — two thumbs up!