dropD Technical Infos

Technical Infos

Microphones

LDC:
1* Horch 2J – original K47 capsule (by Horch)
1* Horch RM2 – original CK12 capsule (by Horch)
(1960’s Telefunken AC701 Microphone Tube)
1* Microtech Gefell M92.1s
1* Microtech Gefell MT71S
1* Neumann Gefell M582/UM70/Tube
2* Microtech Gefell M 930
1* AKG C414 XLS
2* Milab DC-96B
1* Mojave Audio MA-201 fet
2* Rode NT1
1* Neumann TLM 127
1* Violet Black Knight
1* Oktava MKL-2500
1* CAD Trion 8000
4* CAD M179

SDC:
1* Milab – VM44 Classic
2* Milab LSR-2000
2* Microtech Gefell M295
2* Neumann RFT Gefell MV 692 / M70
2* Schoeps CMC5 & MK4
1* Lewitt LCT 140 AIR

Ribbon:
1* AEA R84
1* AEA R88 mk2
1* AEA N22
1* Royer Labs R-121
1* Royer Labs R-101
2* Bang & Olufsen BM3, 1965

Dynamic:
3* Audio Technica ATM601a
2* Audix D2
1* Audix D4
1* Audix D6
1* Sennheiser MD 21
1* Sennheiser MD 421
1* Sennheiser MD 441
1* Beyerdynamic M 201 N (C)
2* Beyerdynamic M 422 N (C)
4* Beyerdynamic M 420 N (C)
5* Beyerdynamic M 88N(C)
2* Electro-Voice RE20
2* Shure SM 7 B
2* Shure SM 91
2* Shure SM 58
4* Shure SM 57
2* Shure 545
1* AKG D 1200

Outboard

19″ and 500:

2* IGS Audio Alter FET Compressor
1* Q2 Audio ADR F-765 FET Compressor
1* Valley People dyna-mite VCA Compressor
2* Aphex Comp 500 Optical Compressor
1* IGS Audio One LA 500 Optical – Teletronix ’68 Audio Path
1* IGS Audio 576 Blue Stripe FET Compressor
1* Focusrite Red 1 500

1* Massenburg GML 8200 EQ
1* MÄAG AUDIO EQ4M™
1* Waves MaxxBCL
1* API Audio 2500+
1* Neve Shelford Channel
1* Neve MBT Master Bus Transformer
1* Summit Audio MPC-100A Tube MicPreamp Compressor
1* Summit Audio DCL-200 Tube Leveling Amplifier
1* MANLEY Stereo Variable Mu Limiter Compressor
1* MANLEY Massive Passive Stereo Equalizer
1* Empirical Labs Fatso – EL7 Tape Simulation und Compressor/Limiter
2* Empirical Labs EL8 X Distressor Compressor (Brit Mode)
1* Empirical Labs EL8 Distressor Compressor
1* Smart Research C2 Dual/Stereo VCA Compressor
1* Audio & Design F-601 RS Superdynamic Limiter
1* Audio & Design F769X-R Vocal Stresser
2* Audio & Design ADR Compex-2 Limiter
2* Warm WA76 Mono Compressor
3* DBX 160A Mono Compressor
1* Drawmer 1973 – 3-band FET Stereo Compressor
1* Drawmer 1978 – Stereo FET Compresor
2* Drawmer DS501 Noise Gate

FX:
1* TC Delay D-Two
1* Bricasti M7
1* Eventide H3000 Ultra-Harmonizer®

IO:
1* Preamp Midas XL48
1* Direct Out Prodigy.MC SoundGrid 96k/64IO
1* Neve Summing 8816
1* Dangerous Music CONVERT-AD+

Monitoring

Control room speakers:

ATC SCM 110 ASL
DUTCH & DUTCH 8c
ADAM S3A
Auratone 5C Super Sound
Yamaha NS 10
Audient Centro

Studio Headphones

Audio Technica, Ultrasone, Beyer, Sennheiser, Big Phones; KRK

Headphone Routing

POWERPLAY 16 P16-I
8 * POWERPLAY 16 P16-M
2 * Presonus HP4
1 * HA4700 Powerplay Pro-XL

Rehearsal Monitoring

Monitoring Feed über Regie/Midas
Für Selbstmischer lässt sich für das Monitoring auch ein Kleinpult einsetzen.

Allen & Heath SQ-5
Behringer X32 Compact

d&b audiotechnik E12, M6, E-PAC

Console

MIDAS XL 4

Custom Midas XL4 with a TT-Patchbay for all insert, group, master and aux patching.

Features

32 * Mic Inputs / Line Inputs / Direct Outputs
24 Ch. + 8 Ch. Unique Extender
16 Audio Sub Groups
16 mono Aux Send
4 Stereo Aux Send
4 band fully parametric EQ
Input/Output Metering
VCA and Mute Busses
16 Group Aux Inputs ( 48V Mic/Line )
Matrix
Automutes
10 Input VCA Faders
VCA Moving Fader Automation

XL4 - If only we aged this gracefully!

Debuting in 1995, the Midas XL4 still occupies the status of the most powerful analogue desks in the world. With a great sound and unmatched signal to noise ratio, it really is the engineer’s choice when mixing FOH on an analogue console.

What makes a Midas XL4 console special besides being top notch?

As with all Midas consoles the XL4 has fully interchangeable modules allowing the desk to easily be configured as required. Each of the 24 mono channels has 4 bands of fully parametric EQ, direct output with a level control on the front panel, 16 mono and 4 stereo auxiliaries, 10 assignable mute and 12 assignable VCA groups. Each channel has its own switchable pre/post fade half-normalised insert point which can be accessed VIA a bantam patch on the remote patchbay.

The XL4 was designed around the classic high quality associated with analogue circuitry which was proven with the XL3 Live Performance and Theatre console. The requirements associated with the broadcast environment was designed into the original XL4 specification. These include moving faders on all 12 VCA’s including remote machine starts, instant access to AFL/PFL, Snapshot automation to include audio follow video, direct outputs on each input, 16 Mic/Line level returns with VCA routing for total control over effects and ambient microphones as well as full communications module.

Features