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Introduction A new standard for live mixing. [Revolutionary - rev·o·lu·tion·ar·y adv. adj : markedly new or introducing radical change The XL8 live performance system is truly revolutionary and heralds Midas' entry into the digital mixing realm. However, this is not merely another digital mixing console. XL8 offers an incomparable design combining exemplary sound quality, flexibility and reliability with an ease and familiarity of use unrivalled by other digital control surfaces. XL8 is the first of a new generation of open-architecture, cross-platform, integrated audio control and distribution systems, which brings control of not only audio, but other aspects of a live performance to a single, intuitive control centre. As well as offering classic Midas audio quality and superb reliability, XL8 actually improves upon the performance of the analogue consoles, which have established Midas as the number one choice of sound engineers the world over. XL8 represents a new generation of networked systems, requiring only mics, amps and speakers to provide a complete audio system. The XL8's open architecture ensures that both third-party hardware and software, including “plug-ins” can be easily integrated into the system. The very latest in high-speed networking technology ensures that XL8 will conform to all the classic Midas brand values of sound quality, reliability and longevity; it will not be obsolete in a few years. Overview
Work Surface XL8 Control Centre: As can be expected from the design team at Midas, the XL8 has been painstakingly designed to address the way in which sound engineers approach the task of mixing. The control centre can be operated from scratch quickly and easily ? even by engineers new to digital control surfaces. XL8 has been designed so the engineer does not have to think in terms of numbers, pages or layers. Users navigate the system and identify channels by colours and groupings, which they themselves create. This method allows an individualised approach to mixing, rather than working within hardware-dictated numerical limitations. This reassuringly familiar way of working is central to the XL8 and ensures that engineers do not have to change their way of thinking to feel comfortable with the new system. Each of the five bays of the console is a discrete hardware module, which is independent of its neighbour and incorporates its own power supply, surface processor, GUI processor and screen. The only common connection is via a single Ethernet link to the network. The standard 5-bay control surface comprises a total of five of the following three modules: In addition to placing engineers in a familiar comfort zone, which allows them to get on with the job of making great audio without worrying about the rigours of new technology, the XL8 also comes complete with a range of features unique in the world of live mixing. Overview
Input Module XL8 Input Module: The input module consists of an 8-channel “fast zone”, where an operator will find the “must have now” controls, a detailed channel strip which is the interface with all of the selected channel's control parameters and a display screen. A standard 5-bay frame has three input modules, which allow easy access for multiple operators. Overview
Mix Module XL8 Mix Module: The mix module features the aux masters, mix masters, VCA faders, POP group select buttons, mix group select buttons, mix buss detail panel and a display screen. A standard 5-bay frame has one mix module. Overview
Output Module XL8 Output Module: The output module features the main (matrix) mix masters, automation control, dual trackball control panel, slide-out keyboard, communications panel, monitoring control and a display screen. A KVM (keyboard, video and mouse) switch is incorporated into this bay, to enable an operator to view and control up to three external computers from the control surface. A standard 5-bay frame has one output module. Overview
Midas NET The XL8's MidasNET network uses the physical connectivity of Ethernet (Ethercon connectors and CAT5/6 cable), but NOT the data protocol, which is too slow for high-quality, low-latency audio distribution. All digital audio is transmitted using the AES50 protocol (implemented as Sony SuperMac) and the Sony HyperMac high-capacity system. AES50 is an open-architecture protocol and HyperMAC is a standards candidate. These protocols benefit from extremely low latency, robust feed-forward error connection, and advanced system clocking. The use of this AES standard means simple, straightforward interfacing with ANY 3rd party hardware which feature this connection. MidasNET connections carry digital audio, control data, and standard Ethernet traffic, bi-directionally, down a single cable. CAT5 for “local” (24 channel) connections, and a single CAT6 (or fibre-optic) for the digital “snake”, which is the equivalent of a 384 channel analogue multicore! The benefit of combining audio, control, clock and third party Ethernet data into one single network means the XL8 hardware interfaces on a single The XL8 also runs self diagnostic software in the background in real time measuring important hardware performance such as processor temperatures, error correction rates and connection integrity. Any unusual variances are instantly notified to the user before any audible issues occur. All network connections are duplicated for full dual-redundancy. The XL8 and MidasNET run at 96kHz sample rate. Each network link has a latency of only 70μS. Typical total system latencies are 2mS. Comprehensive management of delays are provided, including automatic compensation for insert points. Statistics The audio physical connections i.e. audio XLR count Dedicated XLR connections: Configurable audio XLR connections: The total audio XLR count for a standard XL8 is 504. The standard XL8 has a total (configurable) audio connection count of between 120 and 240 depending on the mix of analogue and digital I/O. (NB this excludes the non-configurable 96 Mic inputs on DL431). Typical configuration would be: This totals 71 audio connections leaving a further 169 (if everything is digital) or 49 (if everything is analogue) audio connections. These can be used for insert sends, insert returns, direct outputs, buss direct inputs and side chain connections. The maximum count of any one type of connection is: However the XL8 can have much more than the standard connectivity by adding DL451 I/O units! There are NINE spare AES50 connections (fully redundant) available. This means that potentially another 432 audio connections can be achieved (subject to other system limits). This gives a maximum XLR count of 720 for XL8.
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