Manual
Table Of Contents
- HD96-24 Overview
- Chapter 1. Introduction
- Chapter 2. HD96-24 Overview
- Chapter 3. System Setup
- Initial set-up procedure
- Unpacking the equipment
- Ventilation
- Racking the I/O
- Connection instructions
- System components
- Powering the system
- Switching on the HD96-24
- To switch off the HD96-24 surface
- Setting up the ID of the unit(s)
- To set up the ID of a I/O unit
- I/O Box Update
- Connection to the internet
- Hardware Connections
- Chapter 4. Before You Start
- Chapter 5. About the Control Surface
- Chapter 6. Navigation
- Navigating via the surface detail area
- Navigating via the GUI Menu Bar
- Side Bar Menu
- Widgets and Rotary Controls
- Workflow Modes Overview
- Overview
- Side Bar Pop Op Display
- Tags and Pops
- Clipping Channels
- Bus Setup and Outputs Management
- Meter Bridge
- Channel View
- Console View
- FOH View
- Automation View
- Navigating via Touch Screen Faders
- Navigating via the Layer Overview/Channel Strips area
- Navigation via Global Assignable Shortcuts area
- Navigation via Pinned Fader and Assignable Controls
- Flip Mode
- One Shot Pot
- Clipped Channels, fault finding a problem channel
- Console Layout Configuration (Navigation)
- Creating a Custom Layout
- Chapter 7. Patching
- Chapter 8. Basic Operation
- Scene and show management (Automation)
- Clear the Console
- Saving and Loading show files to a USB memory stick
- Saving and Loading show files to the mCloud
- Save & Mark
- Rollback
- Load Options
- Automate patching preferences:
- Naming Page
- Channel Tags
- Channel Configuration (Config)
- Setting a Pre-Amp’s input gain
- Linking & Stereo
- Patching
- Direct Output
- Options
- Configuration Pages for Outputs
- Linking & Stereo (Outputs)
- Patching (Outputs)
- Direct Input
- Options
- Oscillator (Output Widget)
- Setting the HPF and LPF
- Input equalisation
- True Audition
- Output processing
- Input Dynamics Processing (Dynamics Section)
- Using VCA & POP groups
- How to configure a VCA/POP group:
- Alternative way to assign VCA/POP groups
- Routing to master stereo outputs
- Manchino Multi Edit Page (Basic introduction)
- Security (locking mode)
- Chapter 9. Stereo Linking
- Chapter 10. Panning
- Chapter 11. Soloing
- Chapter 12. Chapter 12: Muting
- Chapter 13. Monitors and Shout Configuration
- Chapter 14. Graphic EQ (GEQ)
- Chapter 15. Internal Effects
- Effects overview
- Working with channel inserted effects
- Effects Browser
- Effect Rack
- Effect Sub-slots
- Effects Rack Safes
- FX Mode
- Effect Programs
- Reverbs:
- TC Electronic VSS4 Reverb
- TC Electronic VSS3 Reverb
- TC M350
- Ambience Reverb
- Vintage Room Reverb
- Chamber Reverb
- Hall Reverb
- Plate Reverb
- Delays:
- Midas Delay
- Stereo Delay
- TC 2290 Delay
- KT 1176 Limiting Amplifier
- KT Bus Compressor
- R-Comp
- Smart Dynamics Processor
- Dual De-Esser
- DSR De-esser
- PIE (Prime Input Expander)
- Stressor Compressor
- Dual Band & Brickwall limiter.
- Midas U Flange
- Midas U Phase
- Pitch Shifter
- Chorus
- Rotor Motor
- Distortion/Exciter:
- Enlightenment Bass
- Glow
- Tape Saturation
- UNCL.HD MULTIBAND DISTORTION
- M Harmonics
- Chapter 16. Talk and Mute Groups
- Talk Groups
- Mute groups
- Using copy and paste
- Copy and Paste rules and restrictions
- Channels Versus Scenes
- Copy and Paste Parameters
- About the Assignable Rotary
- Controlling the Assignable rotary controls
- Pinned Channels
- Flip Target
- Global Assignable Shortcuts
- Assignables Types: Automation
- Assignables Types: Groups.
- Chapter 19. Automation (Scenes and Shows)
- Chapter 20. Show Editor (Recall and Store Scope)
- Chapter 21. Events (Automation)
- Chapter 22. Crossfade Events
- Chapter 23. TBC
- Chapter 24. File Management
- Chapter 25. Multiple Consoles and Other Devices
- Chapter 26. Preferences (Console Configuration)
- Chapter 27. Delay Compensation (Latency)
- Chapter 28. Panel Connections
- Chapter 29. Inputs
- Input channel routing
- Input channel areas of the control surface
- Input Widget Area
- The following processing sections are available:
- Channel View Workflow
- Side Bar Area
- Channel View
- Sends Overview
- Send Detail Area
- Input channel delay
- Aux return mode
- Effects Insert
- Input Metering
- Input Inserts
- Options - Processing Order
- Safes
- Mic Amp Input Gain
- Dynamics and mode descriptions
- Compressor
- Compressor modes
- Corrective mode (exponential peak - fast)
- Adaptive mode (exponential RMS - accurate)
- Creative mode (linear peak - slow)
- Vintage mode (adaptive peak - bright)
- Compressor Graph
- Ratio
- Knee
- Gate
- Ducker
- Sidechain
- EQ
- Phase (All Pass Filter) Controls
- Mixes
- Input channel Pick Off points
- Masters Section and Pan Control
- LCD Displays
- Chapter 30. Outputs
- Outputs on Channel Banks
- GUI channel strips
- Master Section on the control surface
- Output metering
- Bus trim (GUI only)
- Compressor (Dynamics)
- EQ (Equaliser)
- Mute, safes, level and solo
- Output channel name
- Output channel source/destination (GUI only)
- Stereo linking
- Output Configuration Patching
- Safes
- Insert
- Output channel delay
- Processing Order
- Mixes
- Masters
- Outputs macro interrogation control
- Flexi-Aux
- Chapter 31. GUI Menu (Side Bar Menu)
- Chapter 32. Configuring a virtual soundcheck
- Chapter 33. Manchino (Multi Edit Page)
- Chapter 34. Update Manager
- Chapter 35. Channel AI
- Chapter 36. Specifications
10 HD96-24-CC-TP User Manual
Including Eects from TC Electronic.
Tc electronic system 6000 FX (VSS4)
Tc electronic 2290 (coming soon)
Tc electronic system 3000 FX (VSS3)
KT DN780 Reverb
HD2a
HD 670
KT 1176
R-Comp 3
KT Bus compressor
Mtec EQP-HD
Mtec MEQ-HD
M6 Multiband compressor and dynamic EQ.
HD Stressor compressor
HD Wave Designer
Ultra-Dualistic, Voice Doubler
XL4 EQ
Applications
The HD96-24 is the go-to high-end Midas Digital Console System, akin to the
‘industry standard’ Heritage 3000 and XL4. Although the HD96-24 is designed for
the traditional touring live sound environment, it is also ideal for theatre, house
of worship installations and broadcast. So, being a truly multi-functional console
in the Midas tradition, the HD96-24 is suitable for many applications, such as:
• • Live sound touring Front of House (FOH) or Monitors (MONS) duties.
• • Live sound theatre FOH or MONS duties.
• • Live sound & broadcast for house of worship FOH or MONS duties.
System Components
The HD96-24 surface now brings together all DSP and processing into one place.
This allows for quicker set-up. With built in Wi-Fi and Bluetooth the HD96-24 can
talk to the mCloud for show le back-up, software updates, fault tracking and
even the location of the desk anywhere in the world.
All the I/O is handled by the familiar Midas Blue DL series rack which combines
the warmth and authenticity of analogue circuitry with the precision and agility
of state-of-the-art digital techniques. Extreme care has been taken in the
planning and execution of the PCB layout to maintain exceptional grounding and
analogue/digital separation with the highest quality of sonic performance.
Compatible DL Series units are:
DL231/431
DL251/252
DL151/152/153/154/155
The Klark Teknik DN9680 8 Port AES50 extender and multiplexer can be directly
connected to the HD96-24 which Extends AES50 connections up to 500m with
optical bre or 100 m with CAT5 cable. DN9680 supports both optical bre and
copper snakes using a Gigabit Ethernet digital audio point-to-point link. A dual-
bre Neutrik opticalCON DUO connector is used for optical bre snake connection,
enabling a bidirectional optical link on one multi-mode dual bre cable
The DN9680 acts as a bidirectional multiplexer and demultiplexer and combines
the eight incoming AES50 streams into the outgoing snake connection, and
simultaneously also takes the incoming snake connection and unbundles the
eight AES50 streams and routes them to the corresponding AES50 ports with
redundant connections available. This allows 192 bidirectional channels of audio
to be used.
System Busses
The HD96-24 has comprehensive system busses to suit demanding applications,
comprising:
1. 2 stereo solo busses, routable from all locations and allowing for dual
operator
2. 3 master busses, routable from the mic/line inputs (up to 144), and 96 aux
busses.
3. 24 matrix busses, routable from the mic/line inputs (up to 144), 96 aux
busses and three master busses.
4. 96 aux busses (either standard or exi-aux, routable from the mic/line inputs
(up to 144) or exi aux bus to aux bus for group or stem style processing.
All of the bus routings provide simultaneous and time aligned mixing of all the
sources, which will be switchable for minimum latency requirements.
For monitor mixing, the master, matrix and aux busses can all be routed directly
from the input channels, with independent level controls providing up to 123
monitor mix busses. Flexi-Aux busses allow group mixing of channels to be sent
to Auxes, Matrices or the Masters, for example, mix and process all your drums via
a Flexi-Aux then send to an IEM Aux.
For traditional FOH group mixing, any (or all) of the aux busses can change to
operate post-channel fader and pan (that is, aux gain xed at unity).