ATLANTA – Atlanta Sound and Lighting GM Scott Waterbury does not consider himself to be an "early adopter" – "I was slow getting into the digital realm," he said, citing sound quality as one reason why. But when Midas announced the release of its new PRO3 digital mixing console at the 2010 InfoComm Show, Atlanta Sound and Lighting was the first customer to place the order.
"We were on the Midas site to download some updates for the PRO6," Waterbury said, "and my lead engineer, Tom Smith, calls me over and says, ‘check this out, they've got a PRO3!' I took a look at it online and called my rep to get the story. By the end of that phone call, my order was in the system!"
Waterbury, who has headed Atlanta Sound since 1978, credited the PRO6 as the first console that, to his ears, competes well with analog consoles. "We tried all the usual suspects and even bought a couple, but I was never really happy with the sound. I still have a (Midas) XL200 and a couple of Heritages, and frankly, digital didn't measure up. Then I heard the PRO6, and that changed everything."
The design philosophy behind the PRO3 was to provide the same sound quality and operation as the PRO6, optimized and configured for the vast majority of typical live sound productions.
The new DL251 I/O box provides 48 inputs and 16 outputs with remotely addressable preamps, using bi-directional Cat5e Ethernet connectivity to the control surface.
The PRO3 features 10 VCAs and six POP Groups making the console incredibly easy to navigate, and a configurable "Area B" topography accommodates a second engineer.
The PRO3 also includes 27 mix busses, six stereo effects devices and 28 KlarkTeknik graphic EQs. The back panel of the console comes equipped with a DL443 TRS card for eight more line-level inputs and outputs, plus two expansion slots.
"It's literally the exact same mixing surface as the PRO6 except for the logo," said Waterbury. "There's a "3" where the "6" used to be. But inside, it's got everything I love about Midas digital – the same preamps, same effects engines, same time management system, you name it. It's absolutely the same level of quality at a reduced price, configured for the way a company like mine typically uses it. What's not to love?"
One thing Waterbury appreciates about the PRO Series consoles is Area B, which allows the four right-hand faders to be used independently from the rest of the console surface. This allows two engineers to work simultaneously.
"Area B allows our system tech to assist the touring engineer without being in his way," explains. "He can be patching gates, limiters and effects, setting up for the next act, or assisting with the mix."
Another advantage of the Midas PRO3 is the fast learning curve for visiting engineers. In particular, the instant access to grouped channels via the PRO3's 10 dedicated VCA faders and six POPulation Groups to help first-time users navigate the control surface.
"Our lead engineer, Tom Smith, needs no more than about 10 minutes to teach this board to visiting engineers," noted Waterbury. "After he shows them the VCAs and POP Groups, the first thing they say is, ‘hey, this is easy.' But the real key is when they bring up a fader and hear the sound. That always brings a smile, and you know it's going to be a great show."
For Atlanta Sound and Lighting, the bottom line is sound quality, and Midas digital delivers. Waterbury also credited the system's mic preamps and full-time delay management system, which maintains phase coherency among signals regardless of differences in processing delays.
For more information, please visit www.midasconsolesna.com and www.atlantasoundandlight.com.
