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Author Topic: Midas Venice 320  (Read 31787 times)

Steve Milner

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Re: Midas Venice 320
« Reply #10 on: November 28, 2008, 03:56:13 pm »

 I'm using mostly digital these days myself, but the other systems I use a lot are Midas Venice consoles or smaller APB stuff. I will openly admit that I am 100% spoiled by the digital consoles and find myself (wanting) when behind a Midas Venice. I know there are people who dig the Venice EQ and general console layout, but it just ain't for me! I find myself feeling like things are out of place and for such an expensive little board, missing (little) things like phase reversal on the channels is just annoying.

All of that being said, the Venice series are fantastic sounding boards in my experience. It never hurts to have MIDAS on your gear list for clients, so if the features and layout fit your needs I think you will be very happy.

The APB Prorack stuff on the other hand totally kicks ass!!! If digital went away tomorrow, I would be on the phone ordering one of these first thing!! The layout is pretty perfect for me, and I love the way the APB stuff sounds. They fit and finish on the APB products is second to none, and it seems obvious to me that they have spend a fair amount of time making the layout really work in such a small package. It seems like every time I get behind an APB I find some cool little detail that I had not noticed before.

I wish you good luck finding the right console for your needs, it might be worth the trouble to call around and rent one of each for a few gigs before dropping the dollars to buy.
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Evan F. Hunter

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Re: Midas Venice 320
« Reply #11 on: November 28, 2008, 04:18:51 pm »

Hey guys thanks, I have toyed with an LS9 a few times at a local place. All i really want is just true sound quality. The gigs I am doing now are not very large or anything like that. I currently have a Yamaha MG16/4 which is actually OK sounding and an older Yamaha MC1602 that could die any day now. I have looked and several Allen and Heath boards and I like them pretty well. I just want the best sound quality I can afford.
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Evan Hunter
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Tim Padrick

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Re: Midas Venice 320
« Reply #12 on: November 28, 2008, 07:28:29 pm »

On a live gig a few years ago, band A was on a Venice through a Rane EQ into the DR480.  Band B was on a GL2200 straight into the DR480.  (Mic package was the same.)  I was very surprised that I could not discern any meaningful qualitative difference between the two FOH setups.

I must jump on the LS9 bandwagon.  I always thought I'd want "all the knobs right there" until I mixed on a Yammie digital.  Does the digital sound as good?  I don't know.  But I believe that if one knows what he's doing, he'll get a better sound with the Yammie than the other guys will get from the Midas.

Dan Johnson

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Re: Midas Venice 320
« Reply #13 on: November 28, 2008, 07:45:45 pm »

Tim Padrick wrote on Fri, 28 November 2008 18:28

Does the digital sound as good?  I don't know.  But I believe that if one knows what he's doing, he'll get a better sound with the Yammie than the other guys will get from the Midas.

In my experience with the LS9, it seems to be fairly transparent as far as sound goes.  I don't feel like I'm getting any coloring to the sound from the console.  It's really hard to A/B two consoles because you don't often get to run both consoles in the same room with all the other gear exactly the same.  But Tim basically got to do that with the A&H and Midas with the only difference being the Rane EQ on the Midas setup (unless you would argue that the Rane was keeping the Midas from it's full potential).  That's all the more reason to go with an analog console with more features or a better price if you're going to stay analog.  I don't think you would be unhappy with the sound of the LS9 if you went digital either.
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Rick Stansby

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Re: Midas Venice 320
« Reply #14 on: November 28, 2008, 08:30:58 pm »

Daniel Nickleski wrote on Fri, 28 November 2008 08:57

I agree save your money for an LS9.




I love my LS9.  If I was looking for an analog board I would buy it used from one of the people upgrading to digital.  You should be able to get a used Venice or GL2200 for a lot less than a new LS9.

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Dick Rees

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Re: Midas Venice 320
« Reply #15 on: November 28, 2008, 08:56:01 pm »

Tim Padrick wrote on Fri, 28 November 2008 18:28

On a live gig a few years ago, band A was on a Venice through a Rane EQ into the DR480.  Band B was on a GL2200 straight into the DR480.  (Mic package was the same.)  I was very surprised that I could not discern any meaningful qualitative difference between the two FOH setups.


Tim....

With all due respect I would suggest that there are a lot more factors involved which would make a qualitative assessment difficult.

1.  Quality and proper placement of input devices.

2.  Speaker system/amps.

3.  System tunings/DSP in the 480.

4.  The room.

Just because most things were the same does not necessarily mean that each board was a part of a fully optimized system.  If one board was "cleaner" than the other, would it make an SM58 sound noticeably better?  Maybe so, maybe not so much.

I have and use both the GL series boards and the Midas.  I prefer the GL for live sound for reasons of practicality, not the least of which is the availability of the polarity flip.  For pure sound quality I'll take the Midas any day.  That said, the times when pure sound quality is the determinant come under the headings of broadcast and recording.

DR  
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dave stojan

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Re: Midas Venice 320
« Reply #16 on: November 28, 2008, 09:01:11 pm »

While I love the reduced patch time with a digital setup (01V96v2 + ADA8000) I really like the sound & response of the Venice. It just seems to take way less time to dial in the band with the strip eq and outboard processing. A pleasant surprise has been digital multitrack recording from the Venice's direct outs then mixing down with the 01V96 - sweet pre sounds make it through to the final mix. Maybe a good used 320 would be the ticket (especially if you already have outboard gear).

I never cared much for the eq on a GL2200 but did mix once on a GL2800 once and found it quite nice - better than the GB8 the following night - but they were different venues and definitely not an apples to apples comparison.

FWIW. Good luck!
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Steve Payne

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Re: Midas Venice 320
« Reply #17 on: November 28, 2008, 10:35:39 pm »

The APB ProDesk should be on the market any minute now.  Check their website.  
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Evan F. Hunter

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Re: Midas Venice 320
« Reply #18 on: November 28, 2008, 11:54:57 pm »

Hey Guys, i looked on the APB website and it looks as if its not out yet, says "preliminary literature".  As a lot of people have mentioned the Midas sounding good in studios, that is really pretty important to me. I currently do more recording than live sound (hoping to change that). I want a nice digital board but I also want a very high quality analogue board. Im looking into some more digital boards but it sounds like you guys are saying that the Midas's sound quality does not make up for the features it lacks....so what other boards are gonna sound just as good or better sound for no more that 6k? Remember i don't really need more that 24 channels for my stage in the game. When i need more thats when i want to save for a really nice digital board.

We have mentioned the AH-GL2200 and the APB ProDesk
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Evan Hunter
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Dick Rees

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Re: Midas Venice 320
« Reply #19 on: November 29, 2008, 12:16:50 am »

Evan Hunter wrote on Fri, 28 November 2008 22:54

it sounds like you guys are saying that the Midas's sound quality does not make up for the features it lacks



No.  If you read carefully you'll find that the Midas is recommended for highest-quality analog sound.  The feature set for live sound is critiqued for:

1.  Layout.  It differs from other boards, but everything is there....somewhere.  More a drawback for live sound if you're used to other boards and have to do something fast.  Same objection can be made for digital boards.

2.  Limited auxes/sub-groups.  You just have to decide what's enough for you.  More is better, but if you want more Midas, you're gonna spend more $$$$.....seriously more.

3.  Lack of polarity flip.  The only really serious objection.  I bought some in-line polarity switches for use on critical channels.

Bottom line is they are dynamite for recording.  They do have some things you have to get used to for live sound, but if you want the best pre-amps, go Midas.
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