When Midas announced the release of its new PRO3 digital mixing console at the 2010 Infocomm Show, Atlanta Sound and Lighting stepped up right away to be the first U.S.-based customer.
“We were on the Midas site to download some updates for the PRO6,” says Atlanta Sound & Lighting GM Scott Waterbury, “and my lead engineer, Tom Smith calls me over and says, ‘check this out, they’ve got a PRO3!’ I took a look at it online and called my rep to get the story. By the end of that phone call, my order was in the system.”
Waterbury, who has headed Atlanta Sound since 1978, does not consider himself a classic early adopter. “I admit it – I was slow getting into the digital realm. We tried all the usual suspects and even bought a couple, but I was never really happy with the sound. I still have a (Midas) XL200 and a couple of Heritages, and frankly, digital didn’t measure up. Then I heard the PRO6, and that changed everything.”
The design philosophy behind the PRO3 was to provide the same sound quality and operation as the successful PRO6, optimized and configured for the vast majority of typical live sound productions. The new DL251 I/O box provides 48 inputs and 16 outputs with remotely addressable preamps, using bi-directional Cat5e Ethernet connectivity to the control surface.
The PRO3 features ten VCAs and six POP Groups making the console incredibly easy to navigate, and a configurable “Area B” topography accommodates a second engineer. The PRO3 includes 27 mix busses, six stereo effects devices, and 28 KlarkTeknik graphic EQs. The back panel of the console comes equipped with a DL443 TRS card for eight more line-level inputs and outputs, plus two expansion slots.
“It’s literally the exact same mixing surface as the PRO6 except for the logo,” laughs Waterbury. “There’s a 3 where the 6 used to be. But inside, it’s got everything I love about Midas digital – the same preamps, same effects engines, same time management system, you name it. It’s absolutely the same level of quality at a reduced price, configured for the way a company like mine typically uses it. What’s not to love?”
One thing Waterbury appreciates about the PRO Series consoles is Area B, which allows the four right-hand faders to be used independently from the rest of the console surface. This allows two engineers to work simultaneously. “Area B allows our system tech to assist the touring engineer without being in his way,” explains. “He can be patching gates, limiters and effects, setting up for the next act, or assisting with the mix.”
Another big advantage of the Midas PRO3 is the fast learning curve for visiting engineers. In particular, the instant access to grouped channels via the PRO3’s ten dedicated VCA faders and six POPulation Groups ensures that even first-time users will never get “lost” while navigating the control surface.
“Our lead engineer, Tom Smith, needs no more than about ten minutes to teach this board to visiting engineers, which is phenomenal,” notes Waterbury. “After he shows them the VCAs and POP Groups, the first thing they say is, ‘hey, this is easy.’ But the real key is when they bring up a fader and hear the sound. That always brings a smile, and you know it’s going to be a great show.”
For Atlanta Sound and Lighting, the bottom line is sound quality, and Midas digital delivers.
Waterbury credits the system’s renowned mic preamps and full-time delay management system, which maintains phase coherency among signals regardless of differences in processing delays. “You know, when Midas came out with the XL8, they had a slogan, ‘Digital goes Midas,’ and my reaction was that it sounded a little pompous,” Waterbury recalls. “But I can tell you now, it’s not. These consoles are so warm and musical sounding, they make every other digital desk sound brittle.
“And there’s no compromise in the PRO3. It sounds every bit as coherent and musical as an XL8, and the response we get from the touring guys has been universally phenomenal. We couldn’t have made a better investment.”
