MR18 18-Input Digital Mixer for iPad/Android Tablets with 16 MIDAS PRO Preamps, Integrated Wifi Module and Multi-Channel USB Audio Interface MR12 12-Input Digital Mixer for iPad/Android Tablets with 4 MIDAS PRO Preamps, 8 Line Inputs, Integrated Wifi Module and USB Stereo Recorder Product Manual
M AIR User Manual Table of Contents Important Safety Instructions....................................... 3 6.5 EQ............................................................................................ 20 Legal Disclaimer.............................................................. 3 6.6 Dynamics.............................................................................. 21 Limited warranty............................................................. 3 6.7 Sends..............................
M AIR User Manual Important Safety Instructions Terminals marked with this symbol carry electrical current of sufficient magnitude to constitute risk of electric shock. Use only high-quality professional speaker cables with ¼" TS or twist-locking plugs pre-installed. All other installation or modification should be performed only by qualified personnel.
M AIR User Manual 1. Introduction Congratulations on your purchase of the new MIDAS M AIR series digital mixer. These mixers offer plenty of analog I/O for most performances in a very compact form factor that is easy to transport, but doesn’t sacrifice any mixing power. With high-end features taken from the M32 mixer, such as MIDAS PRO preamps, high-quality effects, P-16 monitoring on the MR18, and USB recording capability, these consoles far outperform their size.
M AIR User Manual 2. Callouts 2.1 MR18 Callouts (7) (9) (8) (10) (6) (11) (5) (13) (1) (4) (12) (2) (3) (1) INPUTS accept balanced and unbalanced XLR and 1/4" plugs. (7) (2) MAIN L & R jacks send the main mix signal to PA or monitor speakers via XLR cables. ETHERNET port allows the mixer to be controlled via LAN or connected Wifi router. (8) RESET button resets the console to default network parameters when held for 2 seconds.
M AIR User Manual 2.2 MR12 Callouts (1) (2) (3) (4) (5) (9) (6) (11) (10) (7) (8) (12) (1) ETHERNET port allows the mixer to be controlled via LAN or connected Wifi router. (7) ¼" inputs accept balanced or unbalanced ¼" plugs. Channel 11 and 12 accept high impedance sources for direct connection of guitars and basses. (2) REMOTE switch selects between Ethernet, Wifi client, or Access Point. See the Network Connection chapter for details.
M AIR User Manual 3. Hookup 3.1 MR18 Hookups 3.1.
M AIR User Manual 3.1.
M AIR User Manual 3.1.3 MR18 System Overview WIFI CLIENT mode (Mobile Devices with Wifi) Router ACCESS POINT mode (Mobile Devices with WiFi) or P16-M iOS/Android* iOS/Android Win/Mac*/Linux* Android Win/Mac/Linux P16-D ETHERNET mode Computer with Ethernet port MIXER CONTROL AUDIO I/O CAT-5 cable AUDIO INPUTS WIRELESS CONTROL Win/Mac/Linux USB AUDIO MIC/LINE IN CH.
M AIR User Manual 3.2 MR12 Hookups 3.2.
M AIR User Manual 3.2.
M AIR User Manual 4. Network Connection The M AIR mixers offer convenient digital control of the various mixing functions in three different ways - via Ethernet LAN, or wirelessly as a Wifi Client or as an Access Point. Selection is made with the REMOTE switch. You may view or change the network preferences for these on any of the M AIR remote control applications on the ’Setup/Network’ page. 4.
M AIR User Manual 4.4 Access Point iPad: This mode only supports DHCP Server operation with a maximum of 4 clients, working on Wifi channels 1-11. Security is supported via WEP 40-bit (5 ASCII characters) or WEP 104-bit (13 ASCII characters). By default, the mixer will use a network name consisting of the model name plus the last bits of the mixer’s unique MAC address (e.g.MR18-17-BE-C0). The default IP address is 192.168.1.1 and no security is engaged. 1. Start the Settings/Wifi dialog on your iOS.
M AIR User Manual 5. M AIR for iPad 5.2 Input The M AIR applications for iOS, Android and Mac/Win/Linux allow all of the physical controls and features normally found on analog mixers to be adjusted digitally, and also allow effects and routing to be fully adjusted, all from a remote location away from the input box. This results in a very compact, yet full-featured mixing solution that can be operated while moving about the venue or studio.
M AIR User Manual (2) 9. Select a high-pass, low-pass or mid peak frequency and slope for the key filter. The specific frequency can be selected by dragging the line across the frequency chart. (1) 10. Press the Advanced button to select between normal and advanced gate operation. 11. Access the Key Filter parameters by pressing this button. (3) 12. Select a source for the key filter. 1. Engage the gate with the on/off button. 5.5 Dynamics 2.
M AIR User Manual 7. Use the Gain fader to compensate for changes in level caused by the processor. 5.7 Insert 8. Engage the Key Filter with the on/off button. 9. Select between an aggressive Linear or smooth Logarithmic operation, and between Peak or RMS input response. RMS is most common in compressors, and responds to the average level of incoming audio, whereas the Peak setting responds to brief spikes in loudness that would be allowed through when set to RMS. 10.
M AIR User Manual Whenever an auto mix bus is engaged, a blue gain reduction meter will indicate the amount of signal reduction for any channels assigned to the bus. This allows the current speaker to be heard clearly while suppressing any noise from the other microphones. In each channel's Output tab, a Weight control is included which allows certain channels to be attenuated more or less to compensate for louder voices or more sensitive microphones. 5.
M AIR User Manual 5.15 Setup The Audio/MIDI tab allows global settings for audio, MIDI and monitor options. The Setup page is accessed via the icon at the top of the main screen. This allows the channel layout to be modified, a console reset, and network settings to be adjusted. The console operates at 48 kHz by default, but can be changed to 44.1 kHz. The RTA can be switched from pre to post-EQ to monitor the effect of EQ adjustments.
M AIR User Manual (6) (7) (8) (9) (10) (11) (12) (13) (14) (1) (2) (3) (4) (5) 13. When using the Sends on Faders function, the bus to which the channel signals are sent is selected with the button directly below the Sends on Faders button. Pressing the Bus Master button will allow the send level for the selected bus to be adjusted. 14. Access the FX Send and Main LR faders with this button. 6.
M AIR User Manual 3. Engage the 48 V phantom power by pressing and holding this button. It is best practice to engage phantom power before running audio in a channel, allowing all voltages to stabilize and prevent any noise during the performance. 10. Select the frequency for the key filter. 4. Adjust the analog input Gain with this control. (1) (2) (3) (4) 5. Engage an effect Insert and select the FX bus that will be inserted. 6.
M AIR User Manual There are 3 EQ options for the Main LR and Aux buses: 6-band parametric, graphic, and “true” EQ. The parametric EQ functions the same as the channel EQ, only with 6 bands available. The GEQ and TEQ types appear to be identical, but the “true” EQ compensates for adjacent frequency adjustments. Most graphic equalizers have a multiplying effect when several neighboring bands are boosted or cut, causing an exaggerated EQ adjustment.
M AIR User Manual 6.9 Meters and RTA The Meters tab allows easy monitoring of all analog and digital levels, including USB channels, Buses, Ultranet outputs, and the Main and Solo buses. RTA Click the camera icon at the top of the main screen. A window will open with a list of parameters to select for recall. You can select individual channels/parameters that will be recalled from a previously saved snapshot, or click the ‘All’ button to choose everything in a category.
M AIR User Manual The Solo Channel and Solo Bus can operate in pre-fader or after-fader listen mode. The solo level can be adjusted if necessary as well. A PFL dimmer can be engaged and adjusted to cause a drop in volume whenever a pre-fader (PFL) signal is soloed, in order to match typical post fader (AFL) levels. The solo bus can operate in mono or stereo. The source and tap for monitoring can be selected from a pull-down menu. This monitor signal will be heard when no channels are soloed.
M AIR User Manual 1. The Navigation Tabs allow quick access to various edit menus. 2. The Channel Strip area gives a quick reference to the status of phantom power, aux send levels, pan, etc., The gain, aux levels, FX send levels and pan can be adjusted by clicking and dragging left or right inside the respective section. Click the Gate, EQ and Comp sections to jump to the edit pages for that channel. The Setup – Layers page allows the order of channels and buses to be altered.
M AIR User Manual (1) (2) (3) (4) (5) (7) (8) (9) (10) (11) 3. The Phantom button engages the 48 V phantom power for use with condenser microphones and active DI boxes. It is recommended to engage phantom power well ahead of running audio in a channel in order to allow all voltages to stabilize and prevent any noise during performance. 4. The analog Mic Gain and digital USB Trim can be adjusted independently, though only one source can be used at a time. 5.
M AIR User Manual 10. Select the type of filter and frequencies with these faders. 11. Select a channel or bus for the side chain from the pull-down menu. For the gate and expander functions, the key filter is usually set to “self”, but the ducker can use another channel's signal to trigger the desired attenuation. 7.5 EQ Tab (1) (2) (3) (5) (6) (4) (10) (11) (12) 1. Select one of the 4 Presets to automatically optimize the parameters for one of these common sources. 2.
M AIR User Manual 7.8 Main Tab All of the controls on the Main tab are also accessible from the Channel tab. The channel’s signal can be unassigned from the main output, which is useful when recording sources that aren’t meant to be heard by the audience, or for sources such as click tracks that are only meant for the performers’ mixes and not the main speakers. The channel’s pan control can be adjusted and DCA, Mute Group and Auto Mix assignments can be made as well.
M AIR User Manual The Link Preferences allow specific preamp elements to be synchronized when adjacent channels are linked. Exclusive solo mode allows only one source to be soloed at a time. Pressing a channel’s Solo button will automatically un-solo previously soloed channels. The console defaults to “soft mutes”, meaning that if a channel has been specifically muted, and is also a part of a mute group, when the mute group is unmuted, the channel that was specifically muted will also be unmuted.
M AIR User Manual 7.13 Utilities Utilities offer convenient editing and customization of items that are not easily controlled on other windows or menus. The Decay adjustment controls how quickly the frequency bands fall after reaching their initial indication. Peak Hold will leave a small marker to indicate the peak measurement over a longer period of time while still monitoring the fine audio activity. RTA Gain compensates for audio levels, ensuring accurate readings.
M AIR User Manual Similar to the Buses utility, the DCA utility window allows all 4 DCA groups to be easily monitored and adjusted. A custom set of channels, buses and/or DCA groups can also be configured in 2 user-defined windows. This has the added feature of expanding the channel strip to include the gain level, bus sends, and other information that is normally visible in the mixer tab in the main window. 7.
M AIR User Manual 8. MIDI MIDI RX / TX Snapshots CH CMD No. Value Comment Program Changes 1-64 on Channel 1 can be used to recall snapshots 1-64 stored inside M AIR mixers. 1 Prg Chg 1-64 1 1 1 1 1 1 1 CC CC CC CC CC CC CC 0-15 16 17-20 21-26 27-30 31 32-35 0...127 0...127 0...127 0...127 0...127 0...
M AIR User Manual 9. Specifications 9.1 MR18 Processing Input/Output Characteristics Number of processing channels 18 input channels, 4 FX return channels, 6 aux buses, main LR Frequency range, @ 48 kHz sample rate, +/- 0.5 dB 20 Hz - 20 kHz Internal effects engines 4 true stereo 108 db, 22 Hz - 22 kHz unweighted Signal processing 40-bit floating point Dynamic range, analog in to analog out A/D-D/A conversion 24-bit @ 44.
M AIR User Manual 9.2 MR12 USB Audio/MIDI Interface Processing Type USB 2.0, type B Number of processing channels Supported operating systems Windows 7 or higher**, Mac OS X 10.6.8 or higher, iOS 7 or higher (iPad), Linux 16 input channels, 1 stereo USB return channel, 4 stereo FX return channels, 6 aux buses, main LR Internal effects engines 4 true stereo Supported sample rates 44.
M AIR User Manual Input/Output Characteristics WLAN Module Frequency range, @ 48 kHz sample rate, +/- 0.5 dB dB 20 Hz - 20 kHz Dynamic range, analog in to analog out 108 db, 22 Hz - 22 kHz unweighted A/D dynamic range, preamp to converter 110 db, 22 Hz - 22 kHz unweighted D/A dynamic range, converter and output 111 db, 22 Hz - 22 kHz unweighted Cross talk rejection @ 1 kHz, adjacent channels 90 dB Mic/Line 1-4 input impedance XLR jack, unbal. / bal.
M AIR User Manual 10. Effect Descriptions Vintage Reverb Here is a list and brief description of the effects available on the M AIR mixers. When Stereo and Dual versions of an effect are offered, use the Stereo version when the left and right signal are to be altered together (e.g. on linked stereo channels or buses), or Dual when you want to dial different settings for the left and right signal.
M AIR User Manual Gated Reverb This effect was originally achieved by combining a reverb with a noise gate. Our gated reverb creates the same impression by a special shaping of the reverb tail. Gated Reverb is especially effective for creating a 1980s-style snare sound or to enlarge the presence of a kick drum. (Inspired by the Lexicon 300/480L) PRE DELAY controls the amount of time before the reverberation is heard following the source signal.
M AIR User Manual Stereo Chorus Dimensional Chorus Chorus samples the input, slightly detunes it and mixes it with the original signal to produce a somewhat thicker, shimmering sound. Use it to thicken up background vocals, or to double the sound of brass and woodwind instruments. The Dimensional Chorus offers the most user-friendly and classic sounds, best described as “space” and “dimensional”.
M AIR User Manual Stereo Tremolo Chorus + Chamber Stereo Tremolo creates an up and down volume change at a constant and even tempo just like the guitar amps of yesteryear. Use the Stereo Tremolo to add a unique “surf-music” texture to a vocal or instrument track. Taking up only one FX slot, the Chorus + Chamber effect combines the shimmer and doubling characteristics of a studio-grade Chorus with the sweet sound of a traditional Chamber reverb.
M AIR User Manual The TIME knob adjusts the delay time, and the PATTERN knob sets the delay ratio for the right channel and negative values activate a cross feedback between the two channels. The FEEDHC knob adjusts the delay high-cut frequency, while the FEEDBACK knob adjusts the number of repeats. The X-FEED knob allows you to send the delay sound to the chorus effect. The BALANCE knob adjusts the ratio between delay and chorus.
M AIR User Manual Xtec EQ1 Inspired by the Pultec EQP-1a, this passive equalizer is a very powerful tool for sound enhancement. AUTOGAIN activates an additional long-term gain correction, allowing automatic gain scaling of varying input level ranges. STEREO LINK applies limiting to both channels equally when activated. INPUT GAIN provides up to 18 dB of gain to the input signal prior to limiting. OUTPUT GAIN sets the final gain level of the processed signal.
M AIR User Manual Ultimo Compressor The Ultimo Compressor is based on the Urei 1176LN Limiting Amplifier and authentically captures the smooth character of the original class-A output stage in its FET's legendary fast attack. Start with the INPUT and OUTPUT knobs at the -24 position for unity gain and set the ATTACK and RELEASE knobs fully counterclockwise. Select the compression ratio, then raise the ATTACK knob to lightly compress the signal.
M AIR User Manual The PREAMP knob adjusts the amount of input gain prior to the band-specific distortion adjustment. BUZZ adjusts the low-end breakup, PUNCH adjusts the midrange distortion, and CRUNCH tailors the high-frequency content and distortion for smooth or cutting notes. The DRIVE knob simulates the amount of power amp distortion from a tube amp. The LOW and HIGH knobs allow EQ adjustment independent of distortion content, and the overall output is controlled by the LEVEL knob.
+48V Stereo LINE IN (LR) INPUT (1-16) 18 18 USB typB (18ch OUT) A/D A/D USB typB (18ch IN) PHANTOM 2 2 2 2 6 2 2 6 6 4x1 4x2 2 16 HA GAIN (-12...+60 dB, 0.
+48V LINE IN MIC INPUT A/D LineTrim A/D (2ch OUT) USB typA (2ch IN) USB typA 2 2 1/4” TRS +4dBu / -10dBV (max +22 / +10 dBu) PHANTOM 2 2 2 2 4 / 2* 2 2 4/2* 4/2* 4x1 4x2 8 8 / 4* HA GAIN (-12...+60 dB, 0.
M AIR User Manual FEDERAL COMMUNICATIONS COMMISSION COMPLIANCE INFORMATION M AIR MR18/MR12 Responsible Party Name: MUSIC Group Services NV Inc. Address: 5270 Procyon Street Las Vesgas, NV89118 Phone Number: +1 702 800 8290 M AIR MR18/MR12 Contains Transmitter Module FCC ID: W7OMRF24WG0MAMB This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to part 15 of the FCC Rules.
M AIR User Manual
M AIR User Manual
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