Sujet VENICE F (F16 F24 F32) c'est ici
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pilip
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Je poste, donc je suis
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lolsixteen
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merci pilip. 
lolsixteen
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Membre depuis 20 ans
Sound on Sound vient de tester la Midas venice F32, apparemment c'est du tout tout bon.....particulierement les preamplis, l'integration de la console avec le DAW est tres simple et stable bref plus qu'a la recevoir ....
voici la fin de l'article....
Performance :
Midas are proud of the common‑mode rejection of their preamps, which at 100Hz with a mic gain of 40dB is typically 90dB. This is particularly important in live situations, where there may be significant interference from lighting rigs and so on. The EIN or equivalent noise of the mic preamps is as low as -128dB
depending on the gain setting and the source impedance, which is comparable from what you’d expect from a well‑designed stand-alone mic preamp. The audio bandwidth over Firewire is limited by the sample rate, but is essentially flat within a decibel up to 20kHz.
Installing the software was trivially simple and once done, the console was recognised immediately by Logic Pro, the DAW with which I tested this mixer’s Firewire operation. I experienced no interface dropouts, and there was none of the ‘not being discoverable without a reboot’ nonsense that occasionally
happens with some interfaces.
I had an educational time running one of my mixes through the desk and then comparing it to the ‘in the box’ version of the same mix. I don’t know why it is, but mixing in a good analogue console adds a subtle polish that takes away the slightly brash edge of some digital sounds, without seeming to rob them
of any high end. At the same time, the sounds seem to homogenise into a more cohesive mix. That’s exactly what I found using the Midas: all of my mixes sounded somehow warmer and better integrated, even when using little or no EQ on the desk. At the same time there was no suggestion of anything
getting lost or obscured in the mix — it just sounded better. The Firewire side of the desk worked perfectly with my MacBook Pro, using a buffer size of 128 samples, with no apparent background whine or other digital artifacts. The EQ sounds as a really good analogue EQ should sound. The sound never seems to become overly harsh or muddy, even when you find yourself needing to apply more EQ cut or boost than you’d normally consider decent. There’s a useful overlap between EQ bands, so there are no sonic itches you can’t scratch, though I did find operating the lower segments of the dual‑concentric controls a bit of a tight squeeze for my fingers.
There’s no extra dedicated DAW stereo mix return on the console; the main mix from a default Logic session comes back on channels one and two, but you can usually afford to keep these channels free for that purpose, or reassign the DAW output to come back on one of the stereo channels. The Record
software that comes with the package includes a number of useful default templates that are designed to work with the Venice.
Lasting Impression :
It took me a little while to get used to working with a console that has no dedicated control-room section, and that’s probably the main thing that highlights the live‑sound heritage of this console. However, it doesn’t take long to get used to a very slightly different way of working; the generous Firewire capacity
and the sheer audio quality of the desk soon won me over. The term ‘musical’ is often over‑used, but this desk merits that description. Even the input amps overload gracefully when driven hard. I know that some studio owners will bemoan the lack of high sample‑rate working, but that is a necessary compromise when streaming so many simultaneous audio channels over Firewire, and to be honest, a 44.1kHz session mixed through this console sounded as smooth to my ears as any 96kHz ‘in the box’ session.
Because of the Midas name and the feature set of this console, it is certainly likely to appeal to PA companies needing a medium-format desk that can also handle live recording, and equally to some smaller venue managers looking to add recording capability to their setup, but it should hold plenty of
appeal for the studio user too. No, the desk doesn’t have automation, recall or the ability to double as a control surface, but it’s perfectly possible to do your automation in the DAW and then let the mixer do what it does best — or even use it as a front end for recording and a ‘rack’ of outboard EQ for mixing.
Now if I could only persuade them to release a Firewire summing mixer with a handful of these lovely mic preamps built in!
Au fait quelqu'un l'a reçu ? , si oui j'aimerais bien avoir les premieres impressions d'utilisateurs...
voici la fin de l'article....
Performance :
Midas are proud of the common‑mode rejection of their preamps, which at 100Hz with a mic gain of 40dB is typically 90dB. This is particularly important in live situations, where there may be significant interference from lighting rigs and so on. The EIN or equivalent noise of the mic preamps is as low as -128dB
depending on the gain setting and the source impedance, which is comparable from what you’d expect from a well‑designed stand-alone mic preamp. The audio bandwidth over Firewire is limited by the sample rate, but is essentially flat within a decibel up to 20kHz.
Installing the software was trivially simple and once done, the console was recognised immediately by Logic Pro, the DAW with which I tested this mixer’s Firewire operation. I experienced no interface dropouts, and there was none of the ‘not being discoverable without a reboot’ nonsense that occasionally
happens with some interfaces.
I had an educational time running one of my mixes through the desk and then comparing it to the ‘in the box’ version of the same mix. I don’t know why it is, but mixing in a good analogue console adds a subtle polish that takes away the slightly brash edge of some digital sounds, without seeming to rob them
of any high end. At the same time, the sounds seem to homogenise into a more cohesive mix. That’s exactly what I found using the Midas: all of my mixes sounded somehow warmer and better integrated, even when using little or no EQ on the desk. At the same time there was no suggestion of anything
getting lost or obscured in the mix — it just sounded better. The Firewire side of the desk worked perfectly with my MacBook Pro, using a buffer size of 128 samples, with no apparent background whine or other digital artifacts. The EQ sounds as a really good analogue EQ should sound. The sound never seems to become overly harsh or muddy, even when you find yourself needing to apply more EQ cut or boost than you’d normally consider decent. There’s a useful overlap between EQ bands, so there are no sonic itches you can’t scratch, though I did find operating the lower segments of the dual‑concentric controls a bit of a tight squeeze for my fingers.
There’s no extra dedicated DAW stereo mix return on the console; the main mix from a default Logic session comes back on channels one and two, but you can usually afford to keep these channels free for that purpose, or reassign the DAW output to come back on one of the stereo channels. The Record
software that comes with the package includes a number of useful default templates that are designed to work with the Venice.
Lasting Impression :
It took me a little while to get used to working with a console that has no dedicated control-room section, and that’s probably the main thing that highlights the live‑sound heritage of this console. However, it doesn’t take long to get used to a very slightly different way of working; the generous Firewire capacity
and the sheer audio quality of the desk soon won me over. The term ‘musical’ is often over‑used, but this desk merits that description. Even the input amps overload gracefully when driven hard. I know that some studio owners will bemoan the lack of high sample‑rate working, but that is a necessary compromise when streaming so many simultaneous audio channels over Firewire, and to be honest, a 44.1kHz session mixed through this console sounded as smooth to my ears as any 96kHz ‘in the box’ session.
Because of the Midas name and the feature set of this console, it is certainly likely to appeal to PA companies needing a medium-format desk that can also handle live recording, and equally to some smaller venue managers looking to add recording capability to their setup, but it should hold plenty of
appeal for the studio user too. No, the desk doesn’t have automation, recall or the ability to double as a control surface, but it’s perfectly possible to do your automation in the DAW and then let the mixer do what it does best — or even use it as a front end for recording and a ‘rack’ of outboard EQ for mixing.
Now if I could only persuade them to release a Firewire summing mixer with a handful of these lovely mic preamps built in!
Au fait quelqu'un l'a reçu ? , si oui j'aimerais bien avoir les premieres impressions d'utilisateurs...
[ Dernière édition du message le 20/04/2011 à 08:24:27 ]
ianoo
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Ahem, petite question de non-initié, ça sert à quoi 4 sub sur une 8 voies 
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(F16)Nick Zefish
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