Description
HD96-24-CC-TP
Heritage History
The Heritage 3000 (H3K) was first introduced in 1999. Its famous purple colour and features made it so distinctly Midas. It soon established itself as the world wide industry standard for live sound applications. The H3K proved to be a huge winner from day one.
The striking colour scheme wasn’t the only thing that made waves within the industry. With a new pre-amp design bettering that of the iconic XL4, large channel and aux counts plus the flexible aux switching system, it’s no wonder the H3K appeared on everyone’s spec as the console of choice.
Living up to the reputation of the H3K is undeniably a hard task; the H3K set a new standard in live mixing.
Naming the Heritage D after such an iconic mixing console was indeed a bold move. However, this product is bold and visionary whilst keeping the legendary sound quality and raising the bar on what a digital mixing console can achieve.
Building on the prolific history of the H3K and PRO Series consoles, the new Heritage D now reinvents the workflow of the sound engineer. Finally, a Midas you can touch. Featuring a powerful 21” HD touch screen and formidable ultramodern Graphic User Interface (GUI) control all at your fingertips. Heritage D is a vision of the future with thought provoking new features such as Channel AI (yes, Artificial Intelligence).
This platform is designed for the future and will continue to grow and develop over many years with an impressive Midas team that are eager to improve and constantly add new features. Your investment in the Heritage D is safe.
The Graviton Mk 2 Processing Engine
At the heart of every mixing console is the most important part – Audio. Overlooked by other manufacturers, we have always put sound at the top of our priority list.
It was hard, almost impossible, but we improved on the legendary Midas digital sound with our new 64-bit summing mix engine with increased dynamic range. Driving a Midas has never been easier.
The key to the Midas sound is in giving ultimate flexibility while still being delay compensated. Avoiding the dreaded comb filtering effect is so very important. Many other consoles simply ignore this crucial part of the audio signal path.
Flexi-Aux
The Flexi Aux system gives the ability to send aux to aux for group or stem style mixing. Now you can smash a whole drum kit with parallel compression and feed it to an artists in ear mix.
Channel AI ™
Never before has a console been able to listen to your source, tell you what it is, suggest Gain, EQ, Compression and Gate settings if required. All this presented in an easy user interface that lets you decide which parts of suggested settings you wish to use. Adaptive presets let you pick the style of sound you want and the Channel AI ™ does the rest. You’ll wonder how you ever lived without it.
The development of the HD96-24 can be summed up with one phrase “We Listened”.
Specifications
| Input processing channels |
144 flexi channels |
| Output processing channels |
96 flexi aux outputs, 24 matrices, stereo bus, mono bus |
| Point-to-point routing matrix |
622 x 652 |
| Signal processing |
64-bit floating point |
| D/A converter |
24-bit, 96 kHz and 128 times oversampling |
| A/D converter |
24-bit, 96 kHz and 128 times oversampling |
| Sampling frequency |
96 kHz |
| I/O latency (surface input to output) |
1.34 ms |
| Input audio processing |
Dual-slope high and low-pass filters True phase filter control 4-band parametric EQ with 3 shelf modes 4-mode creative input compressors Input gates or ducker Insert point on/off with processing order change Direct output with adjustable level and processing pick of point Delay-compensated aux return mode on inputs 5 x tap-off points per send |
| Output audio processing |
Output 4-band parametric EQ with shelving/HP/LP options 4-mode creative output dynamics Insert point on/off with processing order change Direct input with adjustable level and processing tap-off point |
| Mixing control assistance |
12 x talk groups 12 x mute groups 24 x surface POPulation groups 24 x VCA associated population groups Scene snapshot automation |
Connectors
| Midas microphone preamplifier |
8 x XLR balanced |
| Balanced outputs |
8 x XLR balanced |
| Talkback connector |
1 x XLR balanced |
| Talk connector |
1 x XLR balanced |
| Headphone connector |
2 x 1⁄4" TRS (stereo) |
| Digital AES3 input / output (XLR) |
2 / 2 |
| AES50 ports (Klark Teknik SuperMAC, 100 Mbit/s) |
4 |
| Snake (copper) |
2 x HyperMac (192 channels of bi-directional digital audio) on Ethercon XLR |
| Snake (fibre) |
2 x HyperMac (192 channels of bi-directional digital audio) on Opticon XLR |
| CM1 expansion slots |
2 x slots (CM1 module for AES50, DANTE, MADI and USB) |
| Ultranet |
2 x Ultranet ports (up to 16 digital outputs per port) |
| Word clock IN |
BNC, accepts TTL level, 96 kHz square wave, impedance 75 Ohms |
| Word clock OUT |
BNC, provides a TTL level, 96 kHz square wave |
| AES3 sync IN |
1 x 3-pin XLR |
| AES3 sync OUT |
1 x 3-pin XLR |
| External (Ethernet) connector |
Ethercon XLR |
| Monitor output |
2 x HDMI (1920 x 1080p 59.94Hz/60Hz 16:9 & 720 x 480p 59.94Hz/60Hz 16:9 supported) |
| USB 3.0 type A hub |
4 x 5 V ⎓ 900 mA |
| USB 3.0 type A (fader port expansion) |
4 x 5 V ⎓ 900 mA |
| USB 2.0 type A (front surface data) |
1 x 5 V ⎓ 500 mA |
| Diagnostics Port |
Serial port |
| MIDI |
In, Out and Thru 5-pin MIDI DIN sockets |
| Lamp |
2 x 12 V DC 5 W 4-pin |
| IEC mains socket with power switch |
2 |
Input / Output Characteristics
| Surface input impedance |
10 kΩ |
| Non-clip maximum input level |
+24 dBu |
| Input gain |
-22.5 dB to +65 dB |
| Phantom power (switchable per input) |
+48 V |
| Talk mic impedance |
5 kΩ |
| Talk mic gain |
+15 dB to +60 dB |
| Talk mic max level |
+6 dB |
| Talkback impendance |
20 kΩ |
| Talkback gain |
∞0 to + 10 dB |
| Talkback max level |
+21 dBu |
| Surface output impedance |
50 Ω |
| Surface output gain |
0 dB |
| Surface output max level |
+21 dBu |
| Dynamic range |
106 dB, 22 Hz to 22 kHz, unweighted |
| Maximum voltage gain |
100 dB inputs to subgroups and masters , 106 dB inputs to aux and matrix |
| Crosstalk at 1 kHz |
-100 dB physically adjacent input channels |
| Crosstalk at 10 kHz |
-90 dB physically adjacent input channels |
| Fader / pan cut off at 1 kHz |
-100 dB |
| Fader / pan cut off at 10 kHz |
-100 dB |
| Headphones output impedance |
10 Ω |
| Headphones maximum output level |
+21 dBu |
Displays
| Display screen |
21" LCD high brightness 1920 x 1080 px, captive touchscreen, up to 10 simultaneous touches |
| LCD info displays |
41 x full colour LCD info displays, 24 mm x 24 mm (size), 240 x 240 px |
| Input meters (quantity 30) |
12 segment -35 dBu to +20 dBu |
| Output meters (quantity 7) |
20 segment -36 dBu to +21 dBu |
| Channel comp meters (quantity 28) |
5 segment -24 dBu to -1 dBu |
| Channel gate meters (quantity 28) |
5 segment -34 dBu to -5 dBu |
| Comp meter (quantity 1) |
12 segment -23 dBu to -1 dBu |
| Gate meter (quantity 1) |
12 segment -34 dBu to -1 dBu |
Controls
| 100 mm motorized faders |
8 + 8 + 8 + 4 |
| Touch-sensitive rotary controls |
66 |
| Custom controls | |
| Fully assignable rotary controls |
28 + 8 |
| Fully assignable backlit buttons |
28 + 8 + 12 |
| Headphone controls |
A and B, min to max |
| Talk |
Talk gain min to max |
Payment & Security
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