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A Midas console designed for small venues and mobile systems.
The Midas Venice 160 Analog Mixing Console sets a new standard in compact mixing consoles. Venice is Midas' first truly compact console built in response to customer demand. It does exactly what was asked for by providing high-quality sound for smaller conference or live-band applications, as well as effects returns or additional inputs in large, multi-console setups. It's or as part of a small, complete mobile system. It's also ideal for live acts that need to mix their own FOH and monitor sound from the stage and is compact enough to fit in cramped quarters.
Midas has paid attention to the details that set their consoles apart, taking care to provide high quality mic preamps and a stable, responsive EQ section, just as they do on their larger consoles. The simple yet intuitive outputs make overall configuration of the console extremely quick and easy.
Legendary Midas Sound
A console's sound can only be as good as its mic preamps. The Venice uses an updated version of the groundbreaking Midas XL3 microphone preamp with "long-tailed pair" circuitry. This gives Venice preamps ample headroom and gain for both mic and line-level signals without any pad or range switching.
Frequency response and distortion
For natural sound, a console must handle a very wide frequency range with the lowest possible distortion. Venice has a maximum input of +22dBu, enabling it to deal with the hottest line signals in a 15Hz- to 100kHz- frequency range. High-value EMI suppression filters shelter the signal path from external noise.
Venice EQ Pure Performance
Audio pros know it's not the number of pots that make an EQ section, it's the audible result. Accurately controlling and fine-tuning signals in the most musical way possible is crucial. Great EQ also provides the processing power to create personalized soundscapes without unwanted side effects. With Midas, the HF and LF filters won't interfere with the mid-band frequencies. All filters keep their gain regardless of frequency settings, and +/-15dB on a gain potentiometer means exactly what it says.
Highest Quality Components
World-class audio performance requires first-class components with minimized tolerances. This means two identical signals will sound equal regardless of which channel they are fed into.
First-Class Electromechanical Parts Used Throughout
Pots, knobs, switches, connectors and faders—these components must work hard throughout the life of the console despite being constantly exposed to heat, moisture, cold, dust, and heavy mechanical usage. Venice uses only pots and faders with metal shafts from Alps and connectors from Neutrik, ensuring low maintenance and total reliability.
Clear and Straightforward Layout
Midas's "dedicated to live production" approach means the design layout of Venice is optimized for quick and easy control. Every function is placed where it should be, easy to find, operate, and read even at low light levels though connectors for two desk lamps are included.
Gain Structure and Output Signals
All controls on Venice that affect actual output levels feature a center position at 0dB with range from minus infinity to plus 10dB (enough to make any output signal more than twice as loud than at the 0dB position). This allows you to see at a glance whether a signal is really boosted or just adjusted to the overall mix. Additionally, all speaker outputs have balanced XLR connectors, protected by relays to protect speakers should the Venice be accidentally switched off during use.
Midas consoles are considered by numerous top FOH engineers to offer the best combination of sound quality, ergonomics, and features.
Reviewed by 2 customers
Displaying reviews 1-2
I doubt there is a small desk at double this price that sounds as good as a Venice. From preamps to EQs to the mix buss this thing rocks. I've been mixing on a 160 for three years and the sonics hold up beautifully in mastering and audiophile rooms. The EQs are a bit aggressive and the routing is designed for live work. When it comes to sound quality these boards are unrivaled.P.S. The reviewer who said his Onyx has better preamps should learn that quality gear lets you hear everything more clearly; he'd be better off with a mic upgrade.
After a month of hard usage, I came to the conclusion that I needed to go back to a Mackie Onyx...FAST! The pres on this thing are intolerable. Shrill to the point where anything around 4-6k and above almost always needed to be rolled off. I do love the flexibility of this board, and the build quality.