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Midas Venice 320 32-Channel Analog Mixer   

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The Midas Venice 320 Analog Mixing Console sets a new standard in compact mixing consoles. Venice is Midas' first truly compact console built in dire...Click To Read More About This Product

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OVERVIEW

High-end quality in a live-sound design.

The Midas Venice 320 Analog Mixing Console sets a new standard in compact mixing consoles. Venice is Midas' first truly compact console built in direct response to customer demand. And the Venice 320 does exactly what was asked in that it provides a high quality alternative in a huge number of applications where previously Midas was not an option. These range from smaller conference or live band applications, to effects returns or additional inputs in a large multi-console application, or as part of a small complete mobile system. It also provides the perfect feature set for live acts who need to mix their own FOH and monitor sound from on-stage, and is compact and light enough to fit on even the most cramped performance area.

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 but intuitive outputs make the overall configuration of the console extremely quick and easy to use.

Legendary Midas Sound

The overall sonic performance of any console can only be as good as the incoming signal interfaces, namely the microphone pre-amplifier. Midas consoles always incorporate the very best microphone pre-amps available. Venice uses an updated version of the ground-breaking Midas XL3 microphone preamp, which uses Midas own "long-tailed pair" circuitry. This means that the Venice preamp has ample headroom and gain range to accept both microphone and line-level signals without any pad or range switching.

Frequency response and distortion (a 'hot' issue)

To retain the natural qualities of many different sorts of input signals, a console must be able to handle incoming signals across a very wide frequency range with lowest possible distortion. The maximum input capability of Venice is +22dBu, enabling the console to deal with even the hottest line signals within a 15Hz- to 100kHz- frequency range. High-value EMI suppression filters shelter the signal-path from unwanted external noise, one of the fundamental Midas design specialities.

Venice EQ Pure Performance

Leading audio professionals all over the world confirm: it's not the number of pots that make an EQ section, it's the audible result, the ability to accurately control and fine-tune audio signals in the most musical way possible. Great EQ also provides the creative processing power to create personalized soundscapes without any unwanted side-effects. For instance, this means that 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. The Venice EQ is what thousands of Midas owners and users expect from Midas products: pure performance.

Highest Quality Components

The world-class audio performance expected of a Midas can only be achieved by using first-class components with minimized tolerances. There is no other way to do it: The operational benefit is that two identical signals will sound equal regardless of which channel they are fed into.

Midas Venice -first-class electromechanical parts throughout:

Pots, knobs, switches, connectors and faders. These components work hard throughout the long life of the console, and are 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 first class reliability.

Clear and Straightforward Layout

All console manufacturers have their own philosophy of control surface design and layout. While Venice can certainly be used for recording, Midas's "dedicated to live production" approach means the design layout of Venice is optimized for quick and easy control. Every function is exactly placed where it should be, easy to find, operate and read even at low light levels (though connectors for two desk lamps are fitted as standard). Venice provides the right feature set for all live applications: very clear and straightforward, and easy to reach despite the high density of controls.

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 the user to see at a glance whether a signal is really boosted or just adjusted to the overall mix. Additionally, all outputs that would typically be linked to loudspeakers via amplifiers are fitted with electronically balanced XLR connectors, protected by relays. This provides ultimate protection for the loudspeakers should the Venice be accidentally switched off during use.


Redundant Power Supply - maximum safety:

Large Midas consoles are always equiped with two power supplies for redundancy. While space limitations in Venice consoles allow the inclusion of only one power supply, an external redundant power supply, the EPS1200 (not included), is available as an accessory for the Venice 320. In the unlikely event of a failure of the internal power supply, the external power supply guarantees interruption-free use of these consoles.

FEATURES
  • Channels: 32
  • Inputs (total): 46
  • Mono-Inputs (Mic/Line) with Inserts: 24
  • Stereo-Line/Mono-Mic-Input Channels: 4/4
  • Stereo-Effect-Returns (Line): 4
  • Stereo-Tape-Return (Line): 1 left/right
  • Busses: 15
  • Subgroups: 4
  • Aux Pre-Fader (Monitor): 2
  • Aux Post-Fader (Effects): 2
  • Aux switchable Pre/Post-Fader: 2
  • Master L/R: 2
  • Mono-PFL: 1
  • Stereo-AFL: 2
  • Output
  • Subgroups (with Inserts): 4 impedance balanced 1/4 inch jacks
  • Aux Pre-Fader (Monitor): 2 XLR (balanced)
  • Aux Post-Fader (Effects): 2 impedance balanced 1/4 inch jacks
  • Aux switchable Pre/Post-Fader: 2 XLR (balanced)
  • Master (with Inserts): 2 XLR (balanced)
  • Master B Out (switchable Mono/Stereo, pre-post Fader): 2 XLR (balanced)
  • Tape Send (Recording): 1 Stereo (Phono)
  • Direct Outputs (1/4 inch Jack): 24
  • Stereo-Headphones: 2 Stereo-1/4 inch jack
  • Stereo-Speakers: 2 impedance balanced 1/4 inch jacks
  • Dimensions (W x D x H): 35.7" x 22.4" x 7.6" (698 mm x 568 mm x 194 mm)
  • Weight: 56.9 lbs (25.8 kg)
  • Power Consumption: 120W
  • Mains Voltage: 110V/120V/220V/230V/240V, 50-60Hz
  • Additional Features:
  • Connector for desk lamps: 2 x 12V/5W (4-Pin XLR)
  • External Power Supply (EPS 1200): not included
  • Accessories:
  • Dust Cover: included
  • 12 V Desk Lamp: not included
  • Input Transformer: not included
SPECIFICATIONS

Venice 320 32-Channel Analog Mixer

  • Input Impedance: Mic - 2k Balanced, Line: 20k Balanced
    Input Gain: Mic - Continuously variable from 0dB to + 60dB, Line Mono Channel - Continuously variable from- 20dB to + 40dB, Line Stereo Channel - Continuously variable from- 20dB to + 20dB, Line Level Inputs - 0dB
    Maximum Input Level: Mic: + 22dBu, Line Level Inputs: + 22dBu, Line Mono Channel + 42dBu, Line Stereo Channel + 28dBu
    CMR at 100Hz: Mic (gain + 40dB) Typ. 75dB
    CMR at 1kHz: Mic (gain + 40dB) > 85dB, Line > 45dB
    Frequency Response (20 to 20kHz)(gain + 60dB): Mic to Mix: + 0dB to - 1dB
    Noise (20 to 20kHz) (gain + 60dB): Mic EIN ref. 150ohms: - 129dBu
    System Noise (20 to 20kHz): Summing Noise (16 channels routed with faders down) - 90dBu; Line to Mix Noise (16 channels routed at 0dB, pan centre) - 86dBu
    Distortion at 1kHz: Mic to Insert (+ 30dB gain, + 20dBu output) - Typ 0.0007%, Mic to Mix (+30dB gain, + 20dBu output) - < 0.009%
    Crosstalk at 1kHz: Channel to Channel < - 80dB, Mix to Mix < - 80dB, Channel to Mix < - 80dB, Fader Attenuation > 100dB, Switch Rejection > 100dB
    Output Impedance: All Line Outputs - 75 Ohms Balanced Source, Headphones - To drive 32 Ohms
    Maximum Output Level: Master Outputs on XLR: + 25dBu, All other Outputs on XLR: + 22dBu, All Outputs on 1/4 inch jacks :+ 22dBu
    Headphones: + 22dBu/600ohms
    Nominal Signal Level: Mic - 60dBu to 0 dBu; Line 0dBu

    Equalizer Mono Channel

    Hi Pass Slope: 12dB / Oct
    Hi Pass Frequency: 80Hz
    Treble Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
    Treble Frequency: 12k
    Hi Mid Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
    Hi Mid Frequency: Continuously variable, 400 Hz to 8k, Hi Mid Bandwidth: 1.4 Oct. (Q = 1)
    Lo Mid Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
    Lo Mid Frequency: Continuously variable, Centre from 100Hz to 2k
    Lo Mid Bandwidth: 1.4 Oct. (Q = 1)
    Bass Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
    Bass Shelving Frequency: 80Hz

    Equalizer Stereo Channel

    Hi Pass Slope: 12dB / Oct
    Hi Pass Frequency: 80Hz
    Treble Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
    Treble Frequency: 12k
    Hi Mid Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
    Hi Mid Frequency: 3k
    Hi Mid Bandwidth: 1.4 Oct. (Q = 1)
    Lo Mid Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
    Lo Mid Frequency: 300Hz
    Lo Mid Bandwidth: 1.4 Oct. (Q = 1)
    Bass Gain: Continuously variable, + 15 dB to - 15 dB, Centre detent = 0dB
    Bass Shelving Frequency: 80Hz
Reviews
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5.0

(based on 1 review)

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5.0

Well Worth The Price!

By TSM-48OlZ

from Southeast MI

Although there's always a temptation to skimp on your PA gear, I can honestly say that the one area you can't afford to skimp on is the keystone of your sound system; the mixing console. Midas makes some of the most sought after consoles for high end sound systems, this is their "entry level board ... but one w/out compromise. The sound is exacting and true, the eq knobs actually do something when you move them (unlike many that require a full twist before you notice a difference), and the board is very flexible w/lots of routing options. I use the direct outs for recording as well, and LOVE the sound of the preamps. We're soon to buy another in the rack mount configuration.

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