Manual Midas Verona

OPERATORS MANUAL
Klark Teknik Group,

Klark Teknik Building,
Walter Nash Road,
Kidderminster.
Worcestershire.
DY11 7HJ.
England.
Tel:+44 1562 741515

Fax:+44 1562 745371
Email: sales@ktgplc.com
Website: www.midasconsoles.com
IMPORTANT SAFETY INSTRUCTIONS
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,

DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
These symbols are internationally accepted symbols that warn of potential hazards with
electrical products.
The lightning flash with arrowhead symbol, within an equilateral

triangle is intended to alert the user to the presence of uninsulated
“dangerous voltage” within the product's enclosure that may be of
sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert

the user to the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in accordance with the manufacturers
instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus
(including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third grounding
prong. The wide blade or the third prong are provided for your safety. If the provided plug does not
fit into your outlet, consult an electrician for replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience
receptacles, and the point where they exit from the apparatus.
11. Only use attachments / accessories specified by the manufacturer.
12. Unplug this apparatus during lightning storms or when unused for long periods of time.
13. Refer all servicing to qualified personnel. Servicing is required when the apparatus is damaged in
any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate
normally, or has been dropped.
Walter Nash Road, Kidderminster, Worcestershire. DY11 7HJ. England
Tel: +44 1562 741515. Fax: +44 1562 745371
Company Registration No: 2414018
abc abc
SIGNAL PROCESSING BY DEFINITION DESIGNED FOR A PURE PERFORMANCE
DECLARATION OF CONFORMITY
We, Klark Teknik Group (UK) Plc
of, Klark Teknik Building, Walter Nash Road, Kidderminster, Worcestershire, DY11 7HJ.
Declare that a sample of the following product:-
Product Type Number Product Description Nominal Voltage (s) Current Freq
Verona Professional Audio 115V AC 2.2A 50/60Hz
Mixing Desk 230V AC 1.1A
to which this declaration refers, is in conformity with the following directives and/or standards:-
Directive(s) Test Standard(s)

Generic Standard using EN55103 Limits and Methods
Class B Conduct Emissions EN55103
Class B Radiated Emissions EN55103
Fast Transient Bursts EN61000-4-4
Static Discharge EN61000-4-2
Electrical Safety EN60065:2002
UL60065-03 Pending
CAN/CSA60065-03 Pending
IEC60065-2001 Pending
Signed:............................ Date: 1st January 2004

Name: Simon Harrison
Authority: Research and Development Director, Klark Teknik Group (UK) Plc
Attention!
Where applicable, the attention of the specifier, purchaser, installer or user is drawn to special limitations
of use which must be observed when these products are taken into service to maintain compliance with
the above directives. Details of these special measures and limitations to use are available on request
and are available in product manuals.
A Subsidiary of Telex Communications, Inc.

Thank You for using a Midas Verona mixing console. The Verona has been developed to meet the needs of demanding
live sound engineers and meets the quality of build and performance that you would expect from a Midas.
The Verona is an all purpose FOH, Monitor or FOH and Monitor Hybrid console that is quickly and easily configurable.
Each mono input channel offers microphone and line inputs, direct output and insert points and four band sweep
equaliser stage. In addition the Verona has a flexible buss structure allowing the engineer to mix in stereo or LCR.
The Verona, also allows the user to route to any of 20 other busses (8 Auxiliary Busses, 8 Group Busses and 4 Matrix
Busses) for even the most demanding application.
All backed up, of course, by the standard Midas Three Year Warranty.
Please take the time to complete and return the registration card and, to obtain the best results with a minimum of
effort, also read this operators manual.
Finally,
Enjoy your new Midas Verona Console!
Contents
ATTENTION: Installation and power 6
Mono Input Channels 7

Rear Panel and Gain 8
Equalisation 9
Auxiliary Outputs 10
Pan and Routing 11
Metering and Automutes 12
Multifunction Input Channels 13

Rear Panel and Gain 14
Channel Equalisation 15
Auxiliary Outputs 16
Pan and Routing 17
Metering, Automutes and Hints and Tips 18
Output Module 19
Output Module notes 20
Groups 21
Matrix 22
Meters 24
Features 26
Setting up the Verona 27
Functional Block Diagrams 33

Mono Input 34
Multifunction Input 35
Group/Matrix Module 36
Master Module 37
Dimensions and Weights 39
Rear Panel Description 41
Specification and Features 43
Crib Sheet 47
Operators Manual - Page 5

ATTENTION
The following special limitations must be observed in order to maintain safety and electromagnetic
compatibility performance.
Power Connection Electric Fields
The console should only be operated with the power If the console is operated in an electromagnetic field that is
supply connected to ground via the ground in the mains amplitude modulated by an audio frequency signal, the signal to
connector. noise ratio may be degraded. Degradation of up to 60dB may be
experienced under extreme conditions (3V/m, 90%
Audio Connections modulation).
The console should only be operated with high quality

twisted-pair audio cables. All connector shells should be
of metal construction so that they provide a screen when
connected to the console. All jack connector shells should
be connected to the cable screen. All XLR plugs should
have pin one (1) connected to the cable screen.
INSTALLATION
Position
The position of the console will vary from venue to venue. However, when positioning the console for front of house usage it
is worth placing the console in a position where the sound system used can be heard properly from the mix position. Try to
avoid placing the console behind pillars or large objects , or mixing from a level above the speaker position (e.g. from a
balcony).
Also try to avoid placing the console near or on any power distribution units or power amplifiers.
Power
If using an external power supply, it should be located as far away from the console as the connecting cable will allow. The
power supply should be set for the voltage supply available in your area and plugged into the mains outlet using the cable
provided.
!
THE POWER SUPPLY SHOULD NEVER BE OPERATED WITH
THE MAINS EARTH DISCONNECTED
Please note that the power supply contains LETHAL VOLTAGES greatly in excess of
the mains voltage and that it’s rails can produce extremely large currents which
could burn out equipment and wiring if shorted. All testing and servicing should
ONLY be carried out by a qualified engineer.
Connections
To ensure the correct and reliable operation or your Midas Verona console, only high quality screened twisted pair
audio cable and metal bodied connectors should be used.
Female XLR RCA (Tape In/Out)
1 Pin 1 - Screen/Ground Centre - Signal

3 Pin 2 - Hot Signal Surround - Screen
2 Pin 3 - Cold Signal
The Venice’s Tape In/Out sockets are
unbalanced and operate at a nominal
Male XLR signal level of -10dBu.
2
3 Pin 1 - Screen/Ground Fo r i n c r e a s e d p r o t e c t i o n a g a i n s t
1 Pin 2 - Hot Signal interference use metal bodied RCA plugs.
Pin 3 - Cold Signal
Note: Sockets are viewed from the front face.

Quarter Inch Jack
TRS Signal TRS Insert TRS Headphone
Sleeve Screen/Ground Screen/Ground Screen/Ground
Ring Cold Signal Insert Return Right
Tip Hot Signal Insert Send Left

Mono Input Channel

Mono Input Channels
Rear Panel The Verona channel inputs are located on the rear of the console.
Each mono channel provides
48v -15
insert
power pad one insert point on a single TRS jack socket.
+30 +45
one direct output on a single impedance balanced quarter-inch jack socket

one line in quarter-inch TRS balanced jack socket
51
+15 +60
mic gain
one mic XLR female
O
mic ins
direct
60 160 out The insert point is unbalanced and requires a conventionally wired insert lead where:
hi-pass 20 400
Tip - Channel Signal Send

line in line
left L Ring - Channel Signal Return
-15
5k
+15
10k
(stereo only) Sleeve - Signal Common Ground
treble line in right
2k 20k
line The direct out and insert points operate at a nominal level of 0dBu.
in
-15
hi-mid
1k
+15
3k Balanced XLR and Jack inputs are conventionally wired:
400
300
8k
1k PUSH mic XLR - 1. Screen - 2. Hot Signal - 3. Cold Signal

lo-mid
100 2k
TRS - T. Hot Signal - R. Cold Signal - S. Screen
-15 +15
Note: Direct outputs as standard are set post EQ pre mute, however there is an
50 100
internal jumper which will set them pre EQ and pre insert (refer to the service manual
bass
20 200
or contact your authorised Midas service agent).
-15 +15
aux pre
eq eq
Front Panel
off on
The actual number of mono input channels on your Verona will depend upon your choice of frame, however functionality
0
aux 1 remains the same

+6
0 -15dB Pad - The Pad switch provides 15dB

aux 2
+6
attenuation to the input signal allowing for
0 the connection of high output microphones
aux 3
+6 48V Power - When depressed, the Verona and line level signals without overloading
0
will apply 48 volts phantom power to the the channel input amplifier. Overloads are
aux 4
+6 microphone input. This is used to power indicated on the in-channel meter by the
0
condenser microphones, direct inject boxes red LED at the top.

aux 5
+6
and other devices that require phantom
0 48v -15
aux 6
power.
+6
The red phantom LED will light to indicate power pad

aux 7
pre
+6
that 48V phantom is in operation. +30 +45 Mic Gain - The mic gain is continuously
0
variable from +15dB to +60dB (0dB to
aux 8
pre
+6 +45dB with the Pad enabled). The actual
groups
1-2 value of the gain required will depend upon
+15 +60
mic gain the source and should ideally be set such
3-4 Mic Ø - The mic phase switch, when
that peaks in level on the input should not
5-6 depressed, causes a 180 degree phase
cause the input amplifier to overload
7-8 change (with respect to the input signal) to O
ins
mono stereo
mic (occasional peaks of +12dB is okay, +18dB
occur in the input amplifier such that the
is too high).
c
channel signal will have opposite polarity to
the input signal.
l
pan
r
Ins - The ins switch enables the channel
groups master The mic phase switch is commonly needed insert point by connecting the insert return
pan sis
MUTE where two microphones are used facing to the channel signal path so that
each other (for example when using a compressors, gates or other dynamic and
SOLO microphone on both the top and bottom of a signal processors or effects can be used.
snare drum). Ordinarily the two
microphones would be out of phase causing
10 18
12 cancellation when the console sums the two

5 0
-18
signals into the output. Reversing the phase
0
of one signal causes the microphones to
have the same phase and no cancellation.
5
10 mute 1 60 160
15
mute 2 Hi-Pass - The high pass switch enables High Pass Frequency - The cutoff
20
high pass filter on the microphone input. frequency of the high pass filter is
hi-pass
30 mute 3
This is commonly used to remove handling
20 400 continuously variable from 20Hz to 400Hz.
40
mute 4
noise, bass rumble through coupling with
the stage or mains hum.
MIDAS

Mono Input Channels
48v -15
power pad
+30 +45
Channel Equalisation
+15 +60
mic gain
Each mono input channel of the Verona has a four (4) band sweep EQ
mic
O
ins allowing tonal control over the input signal.
60 160
hi-pass 20 400
-15 +15
5k 10k
treble
2k 20k
Treble (Gain) - The gain of the treble equaliser is continuously variable from -15dB to +15dB with
a centre detent at 0dB.
-15 +15
-15 +15
1k 3k 5k 10k
hi-mid
treble
400 8k
Treble (frequency) - The centre frequency of the treble equaliser is continuously variable from
300 1k
2kHz to 20kHz.
lo-mid
100 2k
-15 +15
50 100
Hi-Mid (Gain) - The gain of the hi-mid equaliser is continuously variable from -15dB to +15dB
bass
20 200
with a centre detent at 0dB.
-15 +15
1k 3k
-15 +15
hi-mid
aux pre
Hi-Mid (frequency) - The centre frequency of the hi-mid equaliser is continuously variable from
eq eq
400 8k
400Hz to 8kHz.
off on
300 1k
0
aux 1
+6
lo-mid Lo-Mid (frequency) - The centre frequency of the lo-mid equaliser is continuously variable from
0
100 2k
100Hz to 2kHz.
aux 2
+6
0 Lo-Mid (Gain) - The gain of the lo-mid equaliser is continuously variable from -15dB to +15dB
aux 3
+6
with a centre detent at 0dB.
0
-15 +15
aux 4
+6
0
50 100
aux 5
+6
Bass (frequency) - The centre frequency of the bass equaliser is continuously variable from 20Hz
0
bass to 200Hz.
aux 6
20 200
+6
aux 7
pre
+6 Bass (Gain) - The gain of the bass equaliser is continuously variable from -15dB to +15dB with a
0
centre detent at 0dB.
aux 8 -15 +15
pre
+6
groups
1-2
3-4 aux pre

EQ On - The Equaliser can be enabled by depressing the EQ On switch. Otherwise changes on the
Equaliser controls have no effect. This can be used to compare the sound with and without EQ
5-6
eq eq during sound check.
7-8 off on
mono stereo
c
EQ Off (aux pre) - If desired, the channel signal can be sent to the auxiliary outputs without
equalisation. Depressing the EQ Off (Aux Pre) switch causes pre-fader auxiliary sends 1-6 to be
l r
sourced before the channel equaliser (Pre-EQ) as the factory standard. However aux sends 7-8 can be linked to
pan
the pre EQ off switch, as well as 1-6, via an internal jumper (refer to the service manual or contact your
groups
pan
master
sis authorised Midas service agent). Note: Post fader sends are always Post EQ.
MUTE
SOLO
10 18
12
5 0
-18
10 mute 1
15
mute 2
20
30 mute 3
40
mute 4
MIDAS

Mono Input Channels
48v -15
power pad
+30 +45
Auxiliary Outputs
+15 +60
mic gain
The Verona has 8 auxiliary outputs which can be used for effects sends,
mic
O
ins monitors or as extra assignable outputs from the console.
60 160
hi-pass 20 400
Pre-Fade auxiliary (aux) sends are sourced after the channel Insert,
-15
5k
+15
10k
Mute and EQ but before the channel fader (and EQ if the Aux Pre EQ
treble
switch is depressed). As a result, the actual level sent to the aux buss is proportional to the aux send control only.
2k 20k
Post-Fade aux sends are sourced after the channel Insert, Mute, EQ and channel Fader. As a result, the actual
-15
1k
+15
3k
level sent to the aux buss is proportional to the aux send control AND the channel fader.
hi-mid
400
300
8k
1k
Typical uses of auxiliaries are:
lo-mid
100 2k
Application Pre/Post Fade Reason
Stage Monitors Pre (Post-EQ) The level in the monitor stays constant so that
-15
50
+15
100 the engineer can change the FOH level without

bass affecting the performer.
20 200
Effects Sends Post The level sent to the effects is proportional to the
-15 +15
level on the fader so the balance between wet

aux pre
(processed) and dry (un-processed) sound
eq eq
off on stays the same even when the channel level is
0
changed
aux 1
+6
0
Multi Track Recording Pre (Pre-EQ) The recording is made at constant level without
aux 2 or Monitors from FOH any equalisation so that changes in the mix level
+6
0
and EQ can be set in post-production. (You can
aux 3 also use the Direct Out for this but the output will
+6
0
be at unity).
aux 4
+6
0
Mixed Recording Post(Post-EQ) If the aux is set to unity, the FOH mix is
aux 5 (for the artist) replicated on the aux output including EQ but
excluding PAN.
+6
aux 6
+6
aux 7
pre
+6
0
Aux sends 1 through 6 are globally switched Pre or Post Fader. However, Aux 7 and 8 may be
aux 8
pre
individually sourced either Post Fader or Pre Fader using the selector switch on the channel and
+6 0
groups can not be set pre-EQ. However aux sends 7-8 can be linked to the pre EQ off switch, as well as 1-
1-2
aux 6 6, via an internal jumper (refer to the service manual or contact your authorised Midas service
3-4
+6
agent).
5-6
0
7-8 Please note that, for illustration purposes, auxiliary 1 through 5 sends have been omitted but work
mono stereo
aux 7 in the same manner as auxiliary 6 (illustrated).
c pre
+6
l
pan
r 0
Aux Send Level - The auxiliary send level is continuously variable from off (-inf) to +6dB.
groups
pan
master
sis aux 8
MUTE
pre
+6
SOLO
Aux 7/8 Pre - Auxiliary 7 and 8 sends are assignable Pre of Post fader. When depressed, the auxiliary is sources
10 18
12
pre-fader (i.e. the channel fader has no effect upon the level of the signal sent to the auxiliary).
5 0
-18
0
Note: When a channel Mute is enabled, aux sends for the channel are also muted.
10 mute 1
15
mute 2
20
30 mute 3
40
mute 4
MIDAS

Mono Input Channels
48v -15
power pad
+30 +45
Pan and Routing

+15 +60
mic gain
The Verona is a flexible mixing console with eight group buss outputs
mic
O
ins plus stereo and mono outputs.
60 160
hi-pass 20 400
Groups
Signal can be routed to any of the eight group busses by depressing
the corresponding group select switch.
-15 +15
5k 10k
treble
2k 20k
Group sends are post channel equalisation, mute and fader.
The group sends can be configured in either of two modes:-

-15 +15
1k 3k
hi-mid
400 8k
1. Pre-Pan (mono)
300 1k
Each group is sent the same mono signal.
lo-mid
100 2k
i.e. Selecting 1, 2 & 3 will send to each group equally.

-15 +15
50 100
2. Post-Pan (stereo)
bass
20 200 Each pair of groups behave as if they were stereo groups. The mono signal is positioned in a stereo field by
the pan control. The Left signal is routed to the odd numbered buss and the right to the even numbered
-15 +15 buss.
aux pre
i.e. Selecting groups 1, 2 & 3 with pan hard left will result in signal being routed to groups 1 & 3 only.
eq eq
on
Similarly, with pan hard right, signal will be sent only to group 2.
off
0
This configuration is made by depressing the ‘Groups Pan’ key for stereo group operation or released for mono
aux 1
+6
group mode.
0
aux 2
+6
This selection, however, is on a channel-by-channel basis and so some may be assigned to the groups as mono or
0
as stereo depending upon the desired usage.
aux 3
+6
0
For example:
aux 4
+6
0 Application Config. Reason

aux 5
+6
Multitrack Recording Mono Inputs can be sent to a particular input on the multitrack recorder
0 without affecting the stereo image used at FOH.
aux 6
+6
0 Alternative/Delay Output Stereo The Group would behave in the same manner as the stereo
aux 7
pre
+6
output allowing for separate levelcontrol but retaining the original
0 stereo image from FOH.
aux 8
pre
+6
groups
Group 1-8 - Depressing the group switch Stereo - Depressing the stereo switch
1-2
routes the channel signal to the group routes the channel signal to the stereo
3-4
busses as described above. groups (main left and right) buss (post-EQ, pan,
5-6
1-2 mute and fader).
7-8
mono stereo
Mono - Depressing the mono switch routes 3-4 Master SIS - The master SIS switch will
c
the channel signal to the mono buss (post- enable the spacial imaging system
EQ, mute and fader). whereby the channel pan control operates
l r
5-6
pan
in a different way. When panned hard left,
groups
pan
master
sis
signal is routed to the stereo left output as
MUTE Pan - The pan control allows the channel 7-8 normal, similarly when panned hard right,
signal to be positioned in a stereo field when mono stereo the signal is routed to the stereo right
SOLO routed to the stereo buss or when group output as normal. However, when panned
sends are configured to be stereo. The pan c centre, the signal is routed ONLY to the
10 18
control allows continuous adjustment of the mono output creating a LCR (left-centre-
12
image from hard left, to hard right with a right) system instead of the normal LR
5 0
-18 centre detent and obeys a constant power (left-right) system.

0 law (i.e. -3dB at the centre so that the l r
pan
output power remains at unity). You may use SIS mode if using a centre
5 speaker for speech or solo instruments
groups master while retaining the stereo for backing
10 mute 1 pan sis
Groups Pan - As described above the vocals and instruments.
15
20
mute 2
Verona’s group sends may be configured by MUTE
30 mute 3
depressing the ‘Groups Pan’ key for stereo Mute - The mute switch mutes the channel
40
group operation or released for mono group signal. Note that signal will still be sent to
mute 4
mode. the insert point and to the direct output.
The mute status of the channel is indicated
by the corresponding mute LED
MIDAS

Mono Input Channels
48v -15
power pad
+30 +45
+15 +60
mic gain
O
mic ins
60 160
hi-pass 20 400
-15 +15
Solo - When depressed, the channel signal 4 LED Meter - Each input channel contains
5k 10k
treble
will be sent to the After Fade Listen (AFL) in-channel monitoring allowing the user to
2k 20k
stereo and Pre Fade Listen (PFL) mono SOLO monitor the input signal without the need for
outputs. The solo LED indicator will using the PFL.
-15
1k
+15
3k
illuminate to show that the channel solo is
hi-mid
active. The in-channel meter is especially useful
400
300
8k
1k
when setting the microphone gain of a
The Left and Right Monitor and the PFL 10 18 channel. Also, as the, meter is post-EQ, it is
lo-mid
100 2k
console outputs can be used, for example, 12 possible to see the effect that the channel
when operating from within a booth to hear 5 0 equalisation has upon the level. It may be
-15
50
+15
100
selected solos and not the whole FOH mix. -18 necessary to turn the input gain down when
bass excessive EQ is used to prevent the channel
Note: If Solo In Place is activated on the from overloading.
20 200
0
console, any active input solos will replace
-15 +15
the master outputs completely until the solo -18db - Signal Present
aux pre
is removed. 0dB - Normal Level
eq eq
off on 5 +12dB - High Level
0
+18dB - Overload (Peak)
aux 1 Channel Fader - The channel fader allows
+6
0
for continuous adjustment of the channel 10 mute 1 Note: The LED meter and the direct output
aux 2 level from off (-inf) to +10dB. are fed from the same source and are Post-
+6
0 15 Insert and EQ but Pre-Fader and Mute. The

aux 3 At 0dB, the output of the channel to the mute 2 channel in-line meter and direct output are
+6
Stereo, Mono and Group busses will be at 20 unaffected by the channel mute or
0
aux 4 unity (i.e. no boost or cut in level from the automutes.

+6
input). 30 mute 3
0
aux 5
+6
40
0 mute 4
aux 6
+6
aux 7
pre
+6
aux 8
pre
groups
+6 Mute 1,2,3 & 4 - The Verona has four (4) automute busses that can be controlled from the centre section of the
1-2 console. To assign an input channel to an automute, switch in the desired mute switch.
3-4
5-6
Commonly, these are used to mute similar channels, for example:
7-8
mono stereo Channels Reason
c Drum Mics Allows the engineer to mute the whole drum kit at once.
l
pan
r Choir Overheads Allows the engineer to quickly remove all choir mics at once
groups master
pan sis
Orchestra Parts Allows the engineer to zone mics together (e.g. Brass, Strings,
MUTE
etc.) and mute sections together if they were not playing.
SOLO
Note that if any assigned automute or the channel mute is activated then the channel will be muted until all
assigned automutes and the channel mute are removed (i.e. the mutes work like a logical OR where any single or
10 18
12
combination of mutes will mute the channel output).
5 0
-18
10 mute 1
15
mute 2
20
30 mute 3
40
mute 4
MIDAS

Multi Function
Input Channel

Multi Function Input Channels
Rear Panel
The Verona channel inputs are located on the rear of the console. Each multifunction channel
insert provides:
one insert point on a single TRS jack socket;

two quarter-inch TRS balanced line in jack socket inputs;
51 one mic XLR female.
direct
out The insert point operates on the XLR microphone input only (i.e. not on the line inputs) and is
unbalanced and conventionally wired insert where:
line in line
left L Tip - Channel Signal Send
(stereo only) Ring - Channel Signal Return
line in right Sleeve - Signal Common Ground
line
in The insert points operate at a nominal level of 0dBu and acts only upon the MIC input.
Balanced XLR and Jack inputs are conventionally wired:

PUSH mic
XLR - 1. Screen - 2. Hot Signal - 3. Cold Signal
TRS - T. Hot Signal - R. Cold Signal - S. Screen
Front Panel
The actual number of multifunction input channels on your Midas Verona will depend upon your choice of frame. However,
each frame functions in essentially the same way.
Mic Pad - The Pad switch provides 15dB
48v Power - When depressed, the Verona attenuation on the input to allow the
will apply 48 volts phantom power the connection of high output microphones
channel’s microphone input to power and line level signals (to the microphone
condenser microphones, direct inject boxes input) without overloading the channel’s
or other devices that require phantom input amplifier.
48v -15
power.
Note: On multifunction channels, the Pad
The red phantom power LED will light to power pad
switch has no effect upon the left & right
+30 +45
indicate that phantom power is being line level inputs.
applied.
Mic Gain - The microphone gain is
Mic Ø - The microphone phase switch +15 +60
continuously variable from +15dB to
causes a 180 degree phase change (with mic gain +60dB (effective channel input gain 0dB to
respect to the input) to occur in the input +45dB with pad enabled). The pre-fade
amplifier inverting the phase of the O channel input level can be monitored on
microphone signal to the channel. This is mic ins
the in-channel LED meter (discussed later
generally desirable when trying to sum two in this section).
signals that are out of phase which would
lead to cancellation (especially at low Ins - The insert switch enables the channel
frequencies). For example, when trying to insert point by connecting the insert return
use microphone signals from both the top to the channel signal signal path. This
and bottom head of a snare drum. allows for the insertion of dynamic
processors or effects into the signal path
Note: On stereo channels, the phase switch has no effect
upon the left and right line inputs. (for example, compression, limiting or
gating of microphone signals).
Note: On stereo channels, the channel insert has no

effect upon the left and right line inputs.
80Hz Hi-Pass - The high pass switch enables an 80Hz high pass filter on the microphone input. This
hi-pass is commonly used to remove handling noise, bass rumble through coupling with the stage or
0
mains hum. Note: On stereo channels, the channel HPF has no effect upon the left and right line inputs.
Line Gain - The line gain is continuously variable from off (-inf) to +20dB allowing for low
line gain
+20 level line signals to be trimmed to obtain the optimal signal level. The pre-fade input signal
stereo level can be monitored using the in-channel LED meter (discussed later in this section).
Image - The image control controls the stereo image of the channel and is continuously
mono
image wide variable from mono through Left-Right stereo to a wide stereo image. The wide stereo image
uses phase cancellation techniques to create a ‘wider’ sounding signal by removing an
amount of signal common to both the left and right signals.
Note: The Line and MIC inputs are summed together and can be used simultaneously sharing the channel controls.

48V -15
power pad
+30 +45
Channel Equalisation
+15 +60
mic gain
O
mic ins
The Verona’s multifunction channels each have treble and bass
80Hz
shelving EQ and hi and lo-mid sweep EQ stages for tonal control.
hi-pass
0
+20
line gain
stereo
treble
mono
image wide
treble
Treble - The treble shelving EQ gain is continuously variable from -15dB to +15dB.
-15 +15
-15 +15
-15 +15
1k5 3k
hi-mid Hi-Mid Gain - The Hi-mid gain is continuously variable from -15dB to +15dB.
600 8k
300 500
-15 +15
1k5 3k
lo-mid
1k2
Hi-Mid Frequency - The centre frequency of the hi-mid EQ is continuously variable from
100
hi-mid
600Hz to 8kHz allowing the operator to select the desired centre frequency for the equaliser.
-15 +15
bass 600 8k
300 500
-15 +15
Lo-Mid Frequency - The centre frequency of the lo-mid EQ is continuously variable from
lo-mid 100Hz to 1.2kHz allowing the operator to select the desired centre frequency for the equaliser.
aux pre
100 1k2
eq eq
off on
0 Lo-Mid Gain - The Lo-mid gain is continuously variable from -15dB to +15dB.
aux 1
+6
-15 +15
0
bass
aux 2
+6
0 Bass Gain - The bass shelving EQ gain is continuously variable from -15dB to +15dB.
aux 3
+6
0 -15 +15
aux 4
+6
0 EQ On - The channel equalisation stages are enabled by depressing the EQ on switch.

aux pre
aux 5 Otherwise the settings of the channel EQ will have no effect.
+6
0 eq eq
aux 6 off on
+6
aux 7
pre
+6
EQ Off (aux Pre) - When depressed, auxiliary sends 1 through 6 will be sourced pre-
0 equalisation. Otherwise auxiliary sends will be sourced post EQ. The use of this option depends
aux 8
pre
upon how the auxiliary sends are to be used. Aux sends 7-8 can be linked to the pre EQ off
+6
groups switch, as well as 1-6, via an internal jumper (refer to the service manual or contact your
1-2
authorised Midas service agent).
3-4
5-6
7-8
mono stereo
l r
pan
groups
pan
MUTE
stereo
SOLO
18
10
12
0
5
-18
mute 1
10
15 mute 2
20
mute 3
30
40 mute 4
MIDAS

48V -15
power pad
+30 +45
+15
mic gain
+60
Auxiliary Outputs
O
mic ins
Note: Multifunction L and R channel signals are summed into a mono
80Hz
signal to be routed to the auxiliary busses by the channel aux sends.
hi-pass
0
The Verona has eight (8) auxiliary outputs which can be used for
+20
line gain
stereo effects sends, monitor sends or as extra assignable outputs from the
console.
mono
image wide
treble
Pre-Fade auxiliary (aux) 1-6 sends are sourced after the channel Insert, Mute and EQ but before the channel fader
-15 +15
(and EQ if the Aux Pre EQ switch is depressed). As a result, the actual level sent to the aux buss is proportional to
the aux send control only.
-15 +15
1k5 3k
hi-mid Post-Fade aux sends are sourced after the channel Insert, Mute, EQ and channel Fader. As a result, the actual
600
300
8k
500 level sent to the aux buss is proportional to the aux send control AND the channel fader.
lo-mid
100 1k2

-15 +15
bass
the engineer can change the FOH level without
-15 +15
aux pre affecting the performer.

eq eq
off on
Effects Sends Post The level sent to the effects is proportional to the
0
aux 1
level on the fader so the balance between wet
+6 (processed) and dry (un-processed) sound
0
aux 2
stays the same even when the channel level is
+6
changed
0
aux 3
+6
0
aux 4
any equalisation so that changes in the mix level
+6
0
aux 5 also use the Direct Out for this but the output will
+6
0
be at unity).
aux 6
+6
0
Mixed Recording Post (Post-EQ) If the aux is set to unity, the FOH mix is
aux 7 replicated on the aux output including EQ but
pre
+6
excluding PAN.
0
aux 8
pre
groups
+6
Aux sends 1 through 6 are always globally switchable pre or post fader. However, Aux 7 and 8 may individually be
1-2 sourced either Post Fader or Pre Fader using the selector switch on the channel and can not be pre-EQ.
3-4
5-6 Please note that, for illustration puposes, auxiliary 1 through 4 sends have been omitted but work in the same
7-8
manner as auxiliary 6 (illustrated).
mono stereo
0
c
aux 5
l r
pan
+6
groups
Aux Send Level - The auxiliary send level is continuously variable from off (-inf) to +6dB.
pan 0
MUTE
aux 6
stereo
SOLO +6
0
Aux 7/8 Pre - Both aux 7 and aux 8 are assignable Pre or Post fader. When depressed, the
auxiliary is sourced pre-fader (i.e. the channel fader has no effect upon the level of the
10
18
aux 7 signal sent to the auxiliary).
12
0
pre
5 +6
-18
0
0
NOTE: Stereo modules can equally be used for mono signals (plugged in via the
aux 8 microphone socket). The EQ on the stereo channels has fixed frequency high and low
5
pre
+6
sections which are optimised for vocals.
mute 1
10
15 mute 2
20
mute 3
30
40 mute 4
MIDAS

48V -15
power pad
+30 +45
Pan and Routing

+15 +60
mic gain
mic
O
ins The Verona is a flexible mixing console with eight group buss outputs
plus stereo and mono outputs.
80Hz
hi-pass
0
Groups
+20
line gain
stereo
Signal can be routed to any of the eight group busses by depressing the corresponding group select switch.
mono
image wide
treble
Group sends are post channel equalisation, mute and fader.
-15 +15
The group sends can be configured in either of two modes:-
-15
1k5
+15
3k 1. Pre-Pan (mono)
hi-mid
The stereo signals are sent to the busses as a mono sum of L & R regardless of the pan control.
600 8k
300 500
lo-mid
100 1k2
2. Post-Pan (stereo)
Each pair of groups behave as if they were stereo groups. The relative odd and even numbered send
-15 +15
level is controlled by the pan control.
bass
-15 +15
This configuration is made by depressing the ‘Groups Pan’ key for stereo group operation or released for mono
aux pre
eq eq
group mode.
off on
0
This selection is on a channel-by-channel basis and so some may be assigned to the groups as mono or as stereo
aux 1 depending upon the desired usage which is especially useful if the stereo input is to be used as a mono input.
+6
aux 2 For example:

+6
aux 3 Application Config. Reason

+6
0 Multitrack Recording Mono Inputs can be sent to a particular input on the

aux 4 multitrack recorder without affecting the stereo
+6
0 image used at FOH.

aux 5
+6
0 Alternative/Delay Output Stereo The Group would behave in the same manner as
aux 6
the stereo output allowing for separate level
+6
0 control but retaining the original stereo image

aux 7
pre
+6
from FOH.
0
aux 8
pre
+6 Group 1-8 - Depressing the group switch Stereo - Depressing the stereo switch
groups
routes the channel signals as described groups routes the channel signals to the stereo
1-2
above. 1-2
(main left and right) buss (post-EQ, pan
3-4
and fader).
5-6
Mono - Depressing the mono switch routes 3-4

mono
7-8
stereo the channel signals to the mono buss (post- Mute - The mute switch mutes the channel
EQ and fader). signal. Note that signal will still be sent to
c
5-6 the insert point and to the direct output.
l r
The mute status of the channel is indicated
pan
Pan - The pan control allows continuous 7-8 by the corresponding mute LED.
groups
pan
reciprocal adjustment of the stereo image mono stereo
MUTE
created by the channel. In the case of a The channel can also be muted by the four
stereo
mono microphone signal this will be a simple (4) assignable mute groups which will be
c
SOLO
L-R pan, where, with a stereo signal this will explained later in this section.
be a balance allowing the user to determine
18
the relative output power to each the Left Solo - When depressed, the channel signal
10
12
and Right ouput. At all points the pan retains l r

will be sent to the AFL stereo and PFL mono
0
5 pan outputs. The solo LED indicator will
constant power (i.e. -3dB at the centre, 0dB
-18
0 at each extreme). illuminate to show that the channel solo is

groups active.
5
pan
mute 1 Groups Pan - As described above the MUTE The Left and Right Monitor and the PFL
10
Verona’s group sends may be configured by console outputs can be used, for example,
15 mute 2
when operating from within a booth to hear
20 depressing the ‘Groups Pan’ key for stereo stereo selected solos and not the whole FOH mix.
30
mute 3
group operation or released for mono group
40 mute 4 mode. SOLO Note: If Solo In Place is activated on the console, any
active solos will replace the master outputs completely
Note: That SIS is not available on stereo input channels. until the solo is removed.
MIDAS

48V -15
power pad
+30 +45
+15 +60
mic gain
O
mic ins
80Hz
hi-pass
0
+20
line gain
stereo
Mute 1,2,3 & 4 - The Verona has four (4)
4 LED Meter - Each input channel
automute busses that can be controlled
mono
image wide contains in-channel monitoring
treble from the centre section of the console. To
allowing the user to monitor the input
assign an input channel to an automute,
signal without the need for using the
-15 +15 switch in the desired mute switch.
PFL.
-15 +15 Commonly, these are used to mute similar 10 The in-channel meter is especially
1k5 3k
18
hi-mid
channels, for example:
600
300
8k
500
12 useful when setting the microphone
5 gain of a channel. Also, as the, meter is
lo-mid Channels Reason 0
100 1k2
post-EQ, it is possible to see the effect
Drum Mics Allows the engineer to -18
that the channel equalisation has upon
mute the whole drum kit
-15
bass
+15
the level. It may be necessary to turn
at once. 0
the input gain down when excessive EQ
-15 +15
is used to prevent the channel from
Choir Overheads Allows the engineer to
overloading.
aux pre
eq eq
quickly remove all choir
off on mics at once 5
Note: The LED meter is Post-Insert and
0
EQ but Pre-Fader and Mute.
aux 1 Orchestra Parts Allows the engineer to
+6
zone mics together (e.g. 10 mute 1
0
Channel Fader - The channel fader
aux 2 Brass, Strings, etc.) and
allows for continuous adjustment of the
+6
mute sections together if 15
0
mute 2 channel level from off (-inf) to +10dB.
aux 3 they were not playing.
+6 20
0
At 0dB, the output of the channel to the
aux 4 Note that if any assigned automute or the
30 mute 3 Stereo, Mono and Group busses will be
+6
channel mute is activated then the channel
0
at unity (i.e. no boost or cut in level
aux 5 will be muted until all assigned automutes
40 from the input).
and the channel mute are removed (i.e. the
+6
0
mute 4
aux 6 mutes work like a logical OR where any
+6
0 single or combination of mutes will mute the

aux 7
pre
channel output).
+6
aux 8
pre
+6
groups
1-2
3-4
5-6
mono
7-8
stereo
Multi Function Module hints & Tips
c
I want direct outs for recording but multi function channels don’t have any . . .
l r
pan
groups
The multi function channels don’t have a specifically labelled direct output BUT, if you are using a microphone
pan
MUTE
input and don’t need to use the insert channel, you can insert a standard unbalanced quarter-inch jack lead into
the insert point and use this as a direct output. This will work on the condition that you do not activate the insert
stereo
SOLO
point on the channel strip (the insert switch) as this will cause signal to the channel to be lost.
To see for yourself why this works, look at the block diagrams later in the manual.
18
10
12
5
0
-18
I’m running monitors from FOH and I've run out of auxes for effects . . .
0
To add effects to a mono mic input on a multifunction channel, use the insert send of the channel into the effects
unit input and the stereo outputs of the effects unit into the stereo line inputs of the same channel on the Verona.
5
Use the mic gain for the mic and the line gain for the effect return level. Now the aux sends and channel fader will
10
mute 1
control both the mic level and effects return level.
15 mute 2
20
mute 3
30
40 mute 4
MIDAS

Output Module
groups -
auxes -
masters -
matrices -
talk buss -
solo control -
automutes -

Output Module Notes
Before looking at the function of the output section of the console it is essential that the user is first comfortable with a few of
the consoles features that affect groups, matrixes and auxes. Rather than discuss these features in each section (although
they will be repeated there) an understanding of their function in a more general context is desirable.
Group Aux Changeover

The Verona is a dual purpose console. That is, that the Verona is equally as comfortable
group as a monitor console as it is as a front of house console.
aux aux
What does this actually mean?
c/o pre Monitor engineers tend to prefer the output faders on their console to operate the
auxiliary outputs (for monitors) where Front of House engineers would rather have
their output faders for groups (either for sub mixes or delay/alternative outputs).
The Verona achieves this flexibility using the group aux c/o (changeover) switch. Each output can be
individually ‘changed over’ so that the group output path becomes that of the aux output and vice versa.
Why not buy a monitor or FOH console?
The Verona has been developed with real world sound engineers in mind. The real flexibility of the Verona is
in the speed in which the change over can be made and also the ability to create a hybrid console that can
be used for FOH and monitors for the smaller venue where you still need monitors but don’t have space or
money for a monitor engineer or console.
Depressing the group aux changeover switch (using a pointed object such as a pencil) will connect the
auxiliary buss to the group insert, group mute, group fader, group pan and finally the group output
XLR.
The group buss is connected to the auxiliary output pot and to the auxiliary output XLR.
This routing flexibility is available on each group/aux buss.
Meter Changeover
group meters It is possible on the Verona to change the group meters to monitor the aux or matrix
output rather than the group output. For example, if using the matrix outputs to drive
+21 +21
delay speakers, it may be desirable to monitor the output from those outputs.
+18 +18
+15 +15
+12 +12 When depressed, the aux switch will send the aux signal to the meter array (note that,
+9
+6
+9
+6
if you have used group aux c/o, the aux switch should really read group!).
+3 +3
0 0
When depressed, the mtx switch will send the matrix signal to the meter array. This
-3 -3
-6 -6
switch ALWAYS overrides the aux meter select switch and must be released to allow the
-9 -9 aux signal to be sent to the meter array.
-12 -12
-15 -15
-18 -18
Note: Meters are Post Fader and Post Mute
-21 -21
-24 -24
aux aux
TIP
If you wish to understand more about how the Verona routes it’s signals, please refer to
mtx the block diagram section of this manual.
Direct Inputs
The Verona has four (4) direct inputs on balanced TRS quarter-inch jack sockets located next to the
matrix outputs on the rear panel which can be used for console linking or effects returns.
Mono - Routes the direct input to the direct mono Stereo - Routes the mono direct input
main mono buss. input to to the main stereo Left and Right
mtx stereo busses equally.
Mtx - Routes the direct input to the 0
similarly numbered matrix buss (i.e. 1 Level - The direct input level is
through 4). continuously variable from off (-inf) to
+20dB.
+20
Solo - Routes the direct input to the
mono PFL and stereo AFL buss SOLO

Verona Group Outputs
group meters
+21 +21
+18 +18
+15 +15
+12
+9
+12
+9
Rear Panel
+6 +6
+3 +3 insert
G2
insert
G1
Each group buss can be connected to external equipment by means of one single
0 0
-3 -3 balanced male XLR socket (0dBu nominal level).

-6 -6
-9 -9
-12 -12 matrix

1
direct
in 1
In addition to this, each group can be inserted into by means of a single
-15 -15
-18 -18
unbalanced quarter-inch TRS jack conventionally wired (0dBu nominal level).
-21 -21
-24 -24
aux out aux out

Group Insert
aux aux
2 1 Group Output
mtx
direct mono
XLR Sockets
group group 1- Screen 2 - Signal Hot 3 - Signal Cold
2 1
TRS Insert Jacks

T - Signal Send R - Signal Return S - Screen
Front Panel
group Group Aux C/O - The group auxiliary

changeover switch is described on the
aux previous page. When enabled, auxiliary
c/o aux signals are routed into the group output
pre
controls and hence group should be
mentally changed to ‘aux’.
group 1
Group to Mtx - The group to mtx switch group pre Pre-Fade (Group to Mtx) - When
routes the group signal to the matrix send to mtx fade depressed, the signal sent to the matrix
pots (discussed later in this section). send pots is sourced pre-fader and hence
mono stereo the level will be proportional to the matrix
aux 1
send pot only. This may be desirable if
Mono - When depressed, the signal will be
c
using the matrix for recording or
0
sent to the main mono buss via the master monitoring (e.g. stage side fills).
sis switch.
+10
l r
pan Stereo - When depressed, the signal will
MUTE
Pan - The pan control allows the channel be sent to the main stereo buss via the pan
SOLO signal to be positioned in a stereo field when master and master sis switch.
sis
routed to the stereo buss. The pan control
group MUTE
allows continuous adjustment of the image
aux
c/o aux from hard left, to hard right with a centre Master SIS - The master SIS switch will
pre
detent and obeys a constant power law (i.e. group 1 enable the spacial imaging system
group 1
-3dB at the centre so that the output SOLO
whereby the channel pan control operates
group pre
to mtx fade
remains at unity). in a different way. When panned hard left,
mono stereo signal is routed to the stereo left output as
c normal, similarly when panned hard right,
Mute - The mute switch mutes the group the signal is routed to the stereo right
10
signal at all points after the insert return output as normal. However, when panned
l r
pan
(and hence any matrix sends). centre, the signal is routed ONLY to the
5
master
sis
mono output creating a LCR (left-centre-
MUTE right) system instead of the normal LR
group 1 Solo - The solo switch sends the group (left-right) system.
0
SOLO signal to the AFL stereo and PFL mono
busses.
10 5
5 Fader - The fader allows continuous
adjustment of the group output level from
0 10
off (-inf) to +10dB.
5 15
20
10
15 30
20
30 40
40

Verona Matrix Outputs
group meters
+21 +21
+18 +18
+15 +15
+12
+9
+12
+9
Rear Panel
+6 +6
+3
0
+3
0
matrix direct matrix direct matrix direct matrix direct The Verona’s matrix outputs can
-3 -3
4 in 4 3 in 3 2 in 2 1 in 1 be found on the rear of the
-6
-9
-6
-9
console.
-12 -12
-15 -15
-18 -18 Four male XLR sockets are

-21
-24
-21
-24
provided, one for each matrix
XLR Wiring output.
aux aux
Pin 1 - Shield, Pin 2 - Hot Signal, Pin 3 - Cold Signal

mtx
direct mono
Front Panel
The matrix provides another four outputs from the console
which can be ‘made’ from a combination of the consoles
other outputs.
The matrix signal can be made by combination of the group

buss signals and mono, left and right master signals. They
can be used to drive additional speaker zones or as effects
sends from the groups (like the auxes from inputs)
direct mono
input to
mtx stereo Mono Master - The master mono signal
0 sent to the matrix is continuously variable
0
from off (-inf) to +6dB. Unity (0dB) is also
+6
marked on the scale allowing signal to be
group 1 routed to the matrix without any
0
aux 1 +20
attenuation or gain.
+6 SOLO
group 2
0 0 0 Left Master - The master left signal sent to
Group (1-8) - The group level the matrix is continuously variable from off
+10
sent to the matrix is continuously (-inf) to +6dB. Unity (0dB) is also marked
+6 +6
MUTE variable from off (-inf) to +6dB. group 3 mono master on the scale allowing signal to be routed to
0 0
Unity (0dB) is also marked on the the matrix without any attenuation or gain.
SOLO
scale allowing signal to be routed
group to the matrix without any +6
group 4 left master
+6
attenuation or gain. 0 0
Right Master - The master right signal
aux
c/o aux
pre
sent to the matrix is continuously variable
group 1 Each of the groups (1-8) has it’s from off (-inf) to +6dB. Unity (0dB) is also
+6 +6
group pre own individual matrix send level. group 5 right master marked on the scale allowing signal to be
to mtx fade 0
0
routed to the matrix without any
mono stereo attenuation or gain.
c
+6
group 6 Alternatively, the auxiliaries can be routed
0
+10
l r matrix 1 to the matrix by depressing the group/aux
pan
changeover switch. This is especially useful
MUTE
master
sis
+6
group 7
for generating additional monitor mixes or
MUTE
0 re-routing existing monitor mixes (for
group 1 SOLO example if artists are moving around to
SOLO
+6
other parts of the stage).
group 8
The overall level of the matrix output is
10
controlled by the Matrix x pot (where x is
matrix 1
5 the number of the matrix 1 through 4) and
is continuously variable from off (-inf) to
0
+10dB.
5
10
Mute - The matrix output can be muted
immediately after the group and master
15
20
matrix sends.
30
40
Solo - The solo switch routes the matrix
signal to the mono PFL and the stereo AFL
buss.

Verona Aux Outputs
group meters
+21 +21
+18 +18
+15 +15
+12
+9
+12
+9
Rear Panel
+6 +6
+3 +3
0 0
aux out aux out aux out aux out aux out aux out aux out aux out T h e Ve r o n a ’s a u x i l i a r y
-3 -3 8 7 6 5 4 3 2 1 outputs can be found on the
-6 -6
-9 -9 rear of the console.

-12 -12
-15 -15
-18 -18
Eight male XLR sockets are
-21 -21
-24 -24 provided, one for each

auxiliary output.
aux aux
XLR Wiring
mtx Pin 1 - Shield, Pin 2 - Hot Signal, Pin 3 - Cold Signal
direct mono
Front Panel
The Verona provides eight independent auxiliary outputs
which are controlled in this section.
group Group Aux C/O - The group auxiliary

changeover is described at the beginning of
aux this section. When depressed, group signals
c/o aux will be controlled in this section and hence aux
pre
should be mentally interchanged with ‘group’.
Aux Pre - The auxiliary pre switch is the global control which determines whether the auxiliary is taken from the
input channel pre fader or post fader. This switch can be found on each of the auxiliaries 1 through 6. On aux 7 and
8 these are assignable individually pre/post on the channel modules.
Pre-Fade auxiliary (aux) sends are sourced after the channel Insert, Mute and EQ but before the channel fader
(and EQ on 1-6 if the Aux Pre EQ switch is depressed). As a result, the actual level sent to the aux buss is
proportional to the aux send control only.
Post-Fade aux sends are sourced after the channel Insert, Mute, EQ and channel Fader. As a result, the actual
aux 1 level sent to the aux buss is proportional to the aux send control AND the channel fader.

0

+10
MUTE the engineer can change the FOH level without
affecting the performer.
SOLO
group Effects Sends Post The level sent to the effects is proportional to
aux
the level on the fader so the balance between
aux
c/o pre wet (processed) and dry (un-processed) sound
group 1 stays the same even when the channel level is
group
to mtx
pre
fade
changed
mono stereo
c
or Monitors from FOH any equalisation so that changes in the mix level
l
pan
r also use the Direct Out for this but the output
master
will be at unity).
sis
MUTE
Mixed Recording Post (Post-EQ) If the aux is set to unity, the FOH mix is
group 1
(for the artist) replicated on the aux output including EQ but
SOLO
aux 1
excluding PAN.
10
0
0
Auxiliary Master Level - The output level of the auxiliary is continuously variable from off (-
5
inf) to +10dB.
+10
10
15
Auxiliary Mute - When depressed, the auxiliary signal is muted at every point after the master
MUTE
20 send level.
30
40
Auxiliary Solo - When depressed, the auxiliary signal is sent to the stereo AFL and mono PFL
SOLO busses.

Verona Master Outputs
The Verona’s main outputs are located on the rear of the console and provide:
insert insert insert
MR MC ML
Output Source Connector Nom. Level
master meters
Master L Left Buss XLR Male (Bal) 0dBu
PUSH
talk talk out tape
+21 +21 +21
in in Master C Mono Buss XLR Male (Bal) 0dBu
+18 +18 +18
+15 +15 +15 Master R Right Buss XLR Male (Bal) 0dBu
R L
+12
+9
+12
+9
+12
+9
Monitor L AFL Solo L Buss XLR Male (Bal) 0dBu
+6 +6 +6
out PFL Out PFL Solo Buss XLR Male (Bal) 0dBu
+3 +3 +3
monitor pfl out monitor
0 0 0
R L Monitor R AFL Solo R Buss XLR Male (Bal) 0dBu
-3 -3 -3
-6 -6 -6 Tape Out L Master Left RCA Phono -10dBu

-9 -9 -9
-12 -12 -12 Tape Out R Master Right RCA Phono -10dBu
-15 -15 -15
Talk Out Talk Buss XLR Male (Bal) 0dBu
-18 -18 -18
master master master
-21 -21 -21
-24 -24 -24

R C L
left mono right
Also provided are Master L-C-R insert points on conventionally wired quarter-
solo meters
left pfl right
inch TRS jacks (0dBu nominal level), tape inputs (RCA Phono, -10dBu nominal
+21
+18
+21
+18
+21
+18
level) and Talk Input (Male XLR balanced, 0dBu nominal level).
+15 +15 +15
+12 +12 +12
+9 +9 +9
+6 +6 +6
master meters
+3 +3 +3
0 0 0 Master Meters +21 +21 +21
-3 -3 -3 +18 +18 +18
+15 +15 +15

-6 -6 -6
+12 +12 +12
-9
-12
-9
-12
-9
-12
The master meters show the actual peak ouput +9
+6
+9
+6
+9
+6
-15 -15 -15

level from the console’s left, right and centre +3
0
+3
0
+3
0
-18 -18 -18
(mono) busses (Post Fader).

-3 -3 -3
-21 -21 -21 -6 -6 -6
-9 -9 -9
-24 -24 -24
-12 -12 -12
150 500 0 -15 -15 -15
Note that these meters are post master fader and -18
-21
-18
-21
-18
-21
post master output mute.

50 5k +10 -24 -24 -24
freq tape left mono right

0
solo meters
left pfl right
mono +21 +21 +21
+10 +18 +18 +18
generator stereo +15 +15 +15
SOLO Solo Meters +12
+9
+12
+9
+12
+9
on +6 +6 +6
+3 +3 +3
3 0 0 0
NEUTRIK
2
The solo (AFL L, AFL R and PFL) buss levels are -3
-6
-3
-6
-3
-6
+15 +60
shown on the solo meters. The solo meters are pre monitor or phones output mute and level -9
-12
-9
-12
-9
-12
talk
and so are unaffected by changes in the headphone level or the level sent to the monitor
-15 -15 -15
-18 -18 -18
talk -21 -21 -21
on mic
ouptuts. -24 -24 -24
talk
master 150 500 0
The Verona provides a signal generator which can be routed to any of the
external
solo in console’s outputs.
place
groups
1 50 5k +20
1-2
freq tape
Freq - The output frequency of the generator is continuously variable from
auto
3-4 0 50Hz to 5kHz allowing the user to test, for example, three or four bands of a
5-6
2 crossover system.
mute mono
7-8
mono stereo
3 +10 Generator Level - The level of the generator output is continuously variable
aux matrix
masters generator stereo from off (-inf) to +10dB.
4 SOLO
pfl
Generator On - Enables the Signal Generator
SOLO
monitor
on
phones
0
local
0
3 Talk Mic Gain - The gain of the talk microphone input
1 2 is continuously variable from +15dB to +60dB.
+10 +10
NEUTRIK
MUTE MUTE
Talk Mic - The talk mic socket is a conventionally
+15 +60
stereo pre wired XLR male and is supplied with 48v phantom
talk
to mono insert
power allowing the connection of condenser
talk microphones.
MUTE MUTE MUTE
on mic
left right mono Talk On - When depressed, the talk microphone input
SOLO
stereo mono
SOLO
is enabled and routed to the talk buss. When enabled,
all local outputs are attenuated by 20dB to help
10 10 prevent feedback.
5 5
0 0
5 5
10 10
15 15
20 20
30 30
40 40

master meters
+21 +21 +21
+18 +18 +18
+15 +15 +15
+12 +12 +12
+9 +9 +9
+6 +6 +6
+3 +3 +3
0 0 0
-3 -3 -3
-6 -6 -6
-9 -9 -9
-12 -12 -12
-15 -15 -15
-18 -18 -18
-21 -21 -21
-24 -24 -24
left mono right
solo meters talk Talk External - Talk external enables the talk out and talk in signals on the
left pfl right external
+21
+18
+21
+18
+21
+18 solo in rear of the console. The talk in signal is summed with the internal talk mic
+15
+12
+15
+12
+15
+12
place and generator signals.
+9 +9 +9
groups
1
+6 +6 +6
+3 +3 +3
0 0 0 1-2 Groups 1-8 - When depressed, the talk buss signal is routed to the group
-3 -3 -3
-6
-9
-6
-9
-6
-9
auto buss.
-12 -12 -12 3-4
-15 -15 -15
-18
-21
-18
-21
-18
-21 2
-24 -24 -24 5-6
150 500 0
mute
50
freq
5k +10 7-8
0
tape
Mono - When depressed, the talk buss signal is routed to the mono buss.
mono stereo
mono 3
+10
generator stereo Stereo - When depressed, the talk buss signal is routed to the stereo buss.
aux matrix
on
SOLO
masters
3 Aux - When depressed, the talk buss signal is routed to all aux busses.
1 2
4
NEUTRIK
+15
talk
+60
pfl Matrix - When depressed, the talk buss signal is routed to all matrices.
talk
on mic
SOLO Note: Essentially with all buttons depressed, the talk buss signal is routed to
monitor all the consoles busses (except the local outputs and direct outputs).
master phones local
talk PFL Solo - When depressed, the local monitor and headphones signal is
external 0 0
solo in
place
sourced from the PFL mono signal rather than the AFL stereo default.
groups
1
1-2
auto
Phones/Local Level - The local and headphones level is continuously
3-4
+10 +10 variable from off (-inf) to +10dB.
2
5-6
mute MUTE MUTE

7-8 Phones/Local Mute - The local and headphones signal can be muted by
mono stereo
3
depressing the mute switch.
aux matrix
masters
4
pfl
SOLO
monitor
phones local
0 0
+10 +10
MUTE MUTE
stereo pre
to mono insert
MUTE MUTE MUTE
left right mono

SOLO SOLO
stereo mono
10 10
5 5
0 0
5 5
10 10
15 15
20 20
30 30
40 40

The controls on this page are those directly responsible
for the main outputs from the console.
master meters Stereo to Mono - When depressed, stereo pre

+21 +21 +21
a sum of the stereo left and right
+18 +18 +18
signals are routed to the mono to mono insert
+15 +15 +15
+12 +12 +12 signal buss via the pre insert switch.
+9 +9 +9
+6 +6 +6
MUTE MUTE MUTE
+3 +3 +3
Pre Insert - When depressed, the
0 0 0
left right mono
-3
-6
-3
-6
-3
-6
stereo signal sent to the mono buss
-9 -9 -9 is sourced from the stereo signals SOLO SOLO
-12
-15
-12
-15
-12
-15 before the stereo insert points. stereo mono

-18
-21
-18
-21
-18
-21
Otherwise the signal is taken after
left
-24
mono
-24
right
-24
the stereo inserts. 10 10
solo meters
left
+21
pfl
+21
right
+21
The setting of this depends upon the circumstances (and the usage of the centre 5 5
+18
+15
+18
+15
+18
+15
mono ouptut). For example, if an independent graphic EQ or limiter is required to
+12 +12 +12
control the mono centre speaker, then it may not be required (or desired) to have 0 0
+9 +9 +9
+6 +6 +6 the graphic EQ/limiter inserted into the left and right output affect the mono
centre.
+3 +3 +3
0 0 0
-3 -3 -3 5 5
-6 -6 -6
-9
-12
-9
-12
-9
-12
Mute - Each of the left right and centre outputs have individual channel mutes
-15 -15 -15 which mute the signal post fader. 10 10
-18 -18 -18
-21 -21 -21

15 15
150
-24
500
-24 -24
0
Solo - When depressed, the stereo or mono signal is routed to the PFL mono and
20 20
AFL stereo busses.
50 5k +10
freq tape
30 30
0
mono
Output Level - Each output level is continuously variable from off (-inf) to 40 40
generator
+10 +10dB.
stereo
SOLO
on
3
1 2
NEUTRIK
+15
talk
on
+60
talk
mic
Verona Features
The tape input on the rear of the console can be 0
talk
master routed to the main mono or stereo busses by
external
solo in pressing the Mono or Stereo switches. The level
place +10
groups of the tape input is continuously variable from off
1 tape
1-2
(-inf) to +20dB (the nominal input level is
auto
3-4 referenced to -10dB).
2 mono
5-6
mute Solo - When depressed, the tape input signal is

7-8
mono stereo
3 routed to the stereo AFL and mono PFL busses. stereo
aux matrix
masters
SOLO
4
pfl
SOLO
monitor
phones
0
local
0
master WARNING: Solo in place is a major function and should be used for sound check
ONLY. Please read this information carefully!
+10 +10
MUTE MUTE
solo in Solo in Place - When depressed with a small object (eg. screwdriver or pencil tip), the solo
place
stereo pre in place switch causes all active input solos on the console to be exclusively routed to the
to mono insert 1 main outputs of the console. (i.e. mute all un-soloed inputs).
MUTE MUTE MUTE
auto i.e. If a solo is in place, only those active solos will be heard from the main front of house
left right mono speakers. This is a major function worthy of note.
SOLO SOLO
stereo mono
2 The solo in place function is more at home in studio surroundings where the engineer would
10 10 expect only to hear active solos through the monitors. It’s uses in live sound reinforcement
5 5
mute are limited but include:
0 0
3 At sound check, Solo In Place could be used to check or EQ (or adjust insertions,
effects etc.) for one or a number of channels at once without having to turn down or
5 5
masters mute each of the undesired channels (which may upset the onstage monitors an
10 10 hence the musicians!).
15 15
20 20
4 Auto Mute Masters - The auto mute masters are used to enable the mute groups (1
30 30 through 4) as assigned on the input channels.
40 40
Again, these switches are a major function worthy of note (i.e. don’t forget that you have them enabled and
the channels assigned or channel mutes will not be released).

Setting up the
Verona

Setting Up The Verona
The Verona was designed with real world sound engineers in mind, working in the real world. With it’s flexible
routing and dual purpose functionality, the Verona is as happy running monitors as it is front of house. For
engineers that haven’t got a great deal of experience in live sound engineering, here are a few helping guidelines.
Gain
The Verona has two types of input channel; Mono and Multi Function (Stereo) both of also have a mono
microphone input. Gain is provided on these channels to allow the operator to obtain the optimal signal for the
system.
Microphone Gain +15dB to +60dB (0dB to +45dB with pad switch enabled)
Mono Channel Line Gain 0dB to +45dB (-15dB to 30dB with pad switch enabled)
Stereo Channel Line Gain Off to +20dB
Each channel of the Verona includes an in-line channel LED meter indicating the channel level (measured after the
channel insert and EQ but before the channel fader). With the insert and EQ disabled, the in-channel meter will
show the level at the input in four stages:-
-18dB - Signal Present

0dB - Normal operating level
+12dB - High Signal Level
+18dB - 3dB before channel overload (clipping)
The input gain of the channel can be used to obtain the best operating level for the console. Too small a signal level
(too little gain) and the best signal to noise ratio will not be achieved; too high a signal level (too much gain) and
there is the chance of overloading the channel causing distortion.
Clearly, the gain should be positioned between these two points, to gain an optimal signal to noise ratio without
overloading the channel. The ideal level for input channels would be around +6dB with occasional illumination of
+12dB.
Headroom
A channel signal is only permitted to swing high and low by an amount fixed by the power supply. If the maximum
output of the Verona channel strip is +21dBu (0dBu = 0.775 volts RMS) then imagine the following situation:
Headroom is the amount of spare ‘swing’ available to the system. If 6dB headroom was desired at all times, a
maximum level of +15dB is required to retain the headroom.
To prevent overload, the gain must be set to a point that even the highest output from the microphone during
sound check has some headroom left to prevent any surprises during the show!
The consoles Busses (e.g. Left and Right Main buss) are the point where all channel signals are summed together.
In normal operation, it is unlikely that all channels will receive the same signal at the same time so typically when
48 channels are summed together a gain of around 6 to 9dB will be seen. It is important to leave some headroom
in the summing amplifiers so that they do not overload, should the sum exceed the maximum level.
The Effect of EQ
Channel equalisation should be used with care. Boosting or cutting equaliser bands can make monitoring your
actual input level very difficult. Excessive boosting of EQ (+15dB is available on each band)will have the same
effect as applying more gain to the input, taking up valuable headroom. Consider backing off the channel gain
when using large amounts of boost (if you have to use large amounts of boost) to retain a sensible level at the
output.
Excessive EQ cut can have a similarly undesirable effect. If a large amount of signal is cut in the equaliser section,
gain may be used to ‘make up’ the level lost in the equaliser. However, the input pre-amplifier still has the same
amount of available headroom. If gain, added to ‘make up’ the loss in the equaliser, exceeds the maximum level
into the microphone pre-amp then the channel won’t appear to be overloaded but the microphone pre-amp will.
Turning off the equaliser will reveal the true story, whereby the microphone pre-amp may be overloaded. It is
worth considering whether such large amounts of EQ cut is really required, or whether it is being used rather more
as a volume control (in which case the input gain could be set to a normal operating level and the output adjusted
on the channel fader).
TIP: You can monitor the level pre-EQ and post-EQ using the in-channel LED meter by switching the EQ in and out
during sound check.

Dynamic Processing
When working with signals that are constantly at a high level, the channel gain can accommodate these signals
with ease. When working with varying signals (such as the vocalist discussed earlier) it may be desirable to reduce
the dynamic range of the signal so that the loud parts aren’t so loud (and don’t overload your channel input) and
the quiet bits aren’t too quiet (so the signal to noise ratio would be increased).
Limiters and Compressors have a similar function which is to reduce the dynamic range of a signal. The means by
which they do this won’t be discussed here but, these devices have the ability to reduce the level of loud signals
automatically and also raise the gain to ‘make up’ the level as desired. The channel gain can now be set with
adequate headroom to accommodate both loud and quiet signals and the compressor can reduce the dynamic
range and ‘make up’ any reduction in level. By inserting such a device into the channel’s insert point you have the
ability to remove the guesswork from setting your system gain.
However (and this is a big however), there are still sources of potential problems. The Verona is able to operate at
levels up to +21dBu on both the insert send and return. If the maximum input level of the compressor was less
than +21dBu then it is possible to overload the input of the compressor. The only way to resolve this situation
would be to drop the channel input gain so that the input level of the compressor was not being overloaded. Bear
in mind however, the level returned from the compressor would also be lower than +21dBu and excessive use of
the compressor ‘make up’ gain would overload the output of the compressor!
Unity Gain
Unity gain is a gain of 1 (i.e. no gain or attenuation is applied to a signal).
If a signal entered a mono line level input of the Verona at 0dBu and the gain was set to +15dB (an internal 15dB
attenuation sets the net gain to 0dB), then the signal was routed to each output at 0dB, the channel fader was set
to 0dB and each output fader was set to 0dB, the output should be 0dBu (or unity). Some console manufacturers
mark the 0dB level of their faders and pots ‘U’.
Simple. But that’s just one signal. If we have two 0dBu signals entering the Verona (assuming they are coherent -
i.e. the same level and phase) to be summed in the busses, the output would no longer be 0dBu.
Simply,
0dBu = 0.775 volts
0.775 volts + 0.775 volts = 1.55 volts
1.55 volts is 0.775 volts +6dB (or a gain of 2)
To retain an output of 0dBu (our previous unity level) each input must be reduced.
0.775 volts / 2 = 0.3875 volts

0.3875 volts is 0.775 volts -6dB (or a gain of 1/2)
So each fader must be reduced to -6dB to retain the unity gain level of 0dBu on the console output. When using
four inputs at 0dBu, the faders must be reduced to -12dB. Real life signals are not continuous, but the principal is
the same. If you have a sinusoidal input that is nominally 0dBu on all 48 inputs with the channel faders at 0dB, the
output is likely to be well above the 21dBu maximum output of the console and leave no headroom spare. With
real world signals, 48channels summed together will give around 6 to 9dB gain because it is unlikely that all 48
channels will receive the same signal at the same time. Instead signals will occur at different times, and there will
be cancellation due to phase and frequency differences.

Signal Processing and Amplifiers
The final links in the system tend to be graphical equalisers, loudspeaker processors and finally amplifiers and
speakers.
Graphical equalisers have the same problems as the Verona’s EQ. If excessive boost is applied to the signal, the
graphic equaliser’s output may be overloaded. If, the output of the Verona is higher than the maximum input level
of the graphic, the input of the graphic may be overloaded.
Loudspeaker processors have similar problems. If the input level to the processor is too high, the input may be
overloaded and introduce distortion into the outputs (and to the speakers!). In addition to this, any boost on the
processors outputs (say you want 3dB more bass) will cause that output to overload earlier (in this case 3dB
before the other outputs).
Finally, amplifiers can introduce the most interesting results.
An amplifier has a sensitivity. That is, an input signal level that causes the amplifier to produce it’s maximum
output level. For many amps this is 0dBu (0.775 volts RMS), others use 0dBV (1 volt RMS) others use different
levels. Beyond this sensitivity, the amplifiers output will not be able to produce any more power and ‘CLIP’
(usually indicated by some serious looking red lights). Sending +21dBu level from the Verona will clip the output
of most amplifiers causing damage to your loudspeaker system.
There are a number of solutions to this problem:
Reduce the amplifiers input attenuators to a level where the amplifier and console clip at the same point.
e.g. The input sensitivity is 0dBu, setting the input attenuator

on the amplifier to -21dB would mean that the console would clip
at the same time as the amplifier. So operating the console sensibly
the amplifier should never be clipped. The console led Meters will also accurately show
the available headroom left in the entire system.
-21dB may not be a sensible level to set as many operators choose not
to run the output of the console so high. That is personal choice.
Run the output of the console at a level below 0dBu
This solution means that you won’t get full benefit of the console, and may
suffer a reduced signal to noise ratio especially when running over long signal cables. But the
amplifiers should be saved from clipping.
As with many things in the audio world, use your ears. If something sounds distorted check:
Input Gain too high? (lower input gain and check)

EQ Too Much Boost? (disable eq and check)
EQ Too Much Cut coupled with a High Input Gain? (disable eq and check)
Too High a level into Inserted Processor? (disable insert and check)
Clipping Loudspeaker controller or Amplifiers (Check CLIP lights on amps etc.)

Routing
The flexible routing of the Verona allows the console to operate as both a Front of House (FOH) and Monitor
console, or as a combination of both. For operators that haven’t got a great deal of experience, here are a few
helping guidelines.
group
aux
c/o aux
pre Front of House Mode
group 1
group
to mtx
pre
fade
The group aux changeover switch on each group should be released (i.e. off) so that the group fader controls the
group buss signal.
mono stereo
Uses for groups vary, but include:
l
pan
r
Submixes
master
sis
MUTE Submixes are a common way of saving time (and possibly embarrassment) when using a large
group 1
number of microphones at once. For example: Multiple Microphones for Choirs, Drum
SOLO
Kits/Percussion, Orchestras, etc . . .
The channel to be submixed should be routed to the group and any aux sends ONLY (i.e. not to the
10
master L-C-R). The fader is, as normal, used to set the relative level between the channels in the
5 submix. The group chosen for the submix should then be routed to the master L-C-R and panned as
required.
0
The submix is now set up. The group level can be used to control the overall level of the channels
5
(retaining their relative levels), mute the submix output or solo the submix signal.
10
15
Note: Muting the submix is not the same as muting the channels. Aux sends and other group sends
20
will remain active. If channels in a submix are required to be muted, use the automute facility.
30
40
Common EQ/Processing
Often, it is either too expensive or undesirable to apply processing to each channel individually (for
example: compression on a whole choir, graphic eq on a number of microphones, etc...). Setting up
a submix as above, the signal is grouped together. Now the desired processor can be inserted into
aux 1
the group inserts applying the process to all of the submix channels (in their relative levels).
0
Alternative Outputs
+10
example:, you were mixing a number of speakers in a venue and each needed a different level and
processing.
MUTE
SOLO Route the desired channels to any group or master output as necessary. Make sure the group is not
routed to the main outputs. The group outputs should be wired into the necessary amplification and
group
the insert points into any necessary processing (e.g. delay, EQ, etc...).
aux aux
c/o pre
The levels are now individually controllable.
Monitor Mode
The group aux changeover switch on each group should be depressed (i.e. on) so that the group fader controls the
aux buss signal.
Channel signal should be sent to the auxiliary as required and the aux sends should usually be
configured to pre-fader. The console group output sockets should be wired into the necessary
amplification and the insert points into any necessary processing (e.g. EQ, etc...).
The monitor levels are now individually controllable on the group faders.
Dual FOH/Monitor Mode

The group aux changeover switch on each group should be depressed (i.e. on) so that the group fader controls the
aux buss signal for monitors or released (i.e. off) so that the group fader controls the group buss signal for FOH.
The usage in this split mode can be any combination of the above!
Note: When the group aux changeover switch is depressed, control over the groups is performed by
the auxiliary controls and hence, and group outputs may still be used. Submixes could be used by
connecting the auxiliary output sockets on the rear of the console to four unused stereo input
channels and routed to the Left and Right master busses.

Functional
Block Diagrams

equaliser
line in insert direct out

pfl meter
hi-pass
-15 +15 -15 +15 -15 +15
filter -15 +15 18
bass lo-mid hi-mid treble
60 160 12
50 100 300 1k 1k 3k 5k 10k
+30 +45
phantom 0
eq
on -18
20 400
hi-pass 20 200 100 2k 400 8k 2k 20k
48v
mic O
/ insert
+15 +60 phase
mic gain
power reverse
-15 send
-15
mic - return
pad direct option
0
aux pre 1 bus
aux pre aux 8 aux 7
MUTE eq pre pre aux 1
off +6
aux post 1 bus
0
aux pre 2 bus
aux 7&8 pre option
aux 2
pre eq
+6 aux post 2 bus
0
aux pre 3 bus
aux 3
+6 aux post 3 bus
0
aux pre 4 bus
aux 4
+6 aux post 4 bus
0
aux pre 5 bus
aux 5
+6
aux post 5 bus
0
aux pre 6 bus
aux 6
10 +6 aux post 6 bus
0
aux 7
5 aux 7 bus
+6
master
0
post eq 0 +10dB sis stereo aux 8
aux 8 bus
pan in stereo mode
mono
+6
L
c
mute 1 5
left bus
automute 1 bus

mute 2 10 l r R
automute 2 bus pan mono bus
mute 3 15 L
c
automute 3 bus 20 right bus
C
mute 4
30
automute 4 bus groups grp 1 grp 3 grp 5 grp 7
pan
R pan
40
solo in place bus solo logic pan in sis mode
solo on bus group 7 bus

group 5 bus
group 3 bus
group 1 bus
grp 2 grp 4 grp 6 grp 8
SOLO
group 8 bus
group 6 bus
VERONA MONO INPUT MODULE group 4 bus
BLOCK DIAGRAM group 2 bus

left solo bus
right solo bus
pfl bus
insert
phantom +30 +45
80Hz
hi-pass insert
48v
mic O
/
+15 +60 phase
mic gain
power reverse VERONA MULTI FUNCTION INPUT MODULE
send
-15
BLOCK DIAGRAM
mic - return
pad
line in L
0
equaliser aux pre 1 bus
aux 1
+6
aux post 1 bus
pfl meter
eq 0
18
aux pre 2 bus
+15 -15 +15
-15 -15 +15 -15 +15 on
bass lo-mid hi-mid treble 12 aux 2
300 500 1k5 3k 0 +6 aux post 2 bus
-18 0
aux pre 3 bus
100 1k2 600 8k
aux 3
line in R
+6 aux post 3 bus
stereo
0 0
5k aux pre 4 bus
aux 4
mono +6 aux post 4 bus
+20
image wide
line gain 0
aux pre 5 bus
aux 5
+6
aux post 5 bus
aux 8 aux 7
pre pre
0
aux pre 6 bus
aux 6
+6 aux post 6 bus
0
aux 7
aux pre aux 7 bus
eq +6
MUTE
off mono
0
aux 8
aux 8 bus
pre eq +6
stereo
aux 7&8 pre option
mono bus
10

left bus
post eq 5 +10dB
c L
right bus
0
l r
R groups grp 1 grp 3 grp 5 grp 7
pan Pan
post eq +10dB
5
group 7 bus
10 group 5 bus
group 3 bus
mute 1
15 group 1 bus
automute 1 bus
20
mute 2 grp 2 grp 4 grp 6 grp 8
automute 2 bus 30
mute 3 SOLO
40
automute 3 bus
group 8 bus
mute 4 group 6 bus
automute 4 bus
group 4 bus
group 2 bus
solo in place bus solo logic
left solo bus
right solo bus
pfl bus
solo on bus
aux group
pre
aux
c/o aux 1 MUTE
0
aux post 1 bus
+10dB
aux out 1
+10
aux pre 1 bus

insert G1
group 1
aux SOLO
master
10 sis stereo
MUTE pan in stereo mode
5 left solo bus
c
L
group 1 bus send return
0 +10dB mono right solo bus
l r R
pan
pfl bus
5 L
c
0
group
group 1-matrix pre to mtx C
fade 10
+6
group 1 pan
R
group SOLO
0 15
pan in sis mode
group 2-matrix 20 group meter 1
+21
+6
group 2 30 +18
0
+15
group 3-matrix 40
+12
+6 +9
group 3
0 +6
+3
group 4-matrix
0
+6
group 4 -3
0 -6
group 5-matrix MUTE -9
0
meter source select -12
+6 matrix SOLO
group 5 -15
0 aux
mtx -18
+10dB
group 6-matrix -21
+10
+6 matrix 1 -24
group 6
0
group 7-matrix
+6
group 7
0

group 8-matrix
+6
group 8
dir input SOLO
0
mono-matrix
+6
mono master
0
left-matrix
+6
left master
0
right-matrix
+6
right master
stereo
solo on bus
talk-matrix
direct in 1 direct
input to matrix 1
mtx
VERONA GROUP/MATRIX MODULE
BLOCK DIAGRAM
mono left bus
right bus
0
+20dB
mono bus
+20
direct
insert ML
10
master meters
master L
5 +21 +21 +21
+18 +18 +18

left left
+15 +15 +15
0 +12 +12 +12
+9 +9 +9
VERONA MASTER MODULE +6 +6 +6
master C
5 +3 +3 +3
send return 10 BLOCK DIAGRAM
left bus 0 0 0
-3 -3 -3
5 10 -6 -6 -6
-9 -9 -9 master R
insert MR
right
15 -12 -12 -12
0
-15 -15 -15
20 stereo SOLO
10 -18 -18 -18
30 -21 -21 -21
5 5 left MUTE -24 -24 -24

40 left center right
mono
0 10 +10dB
solo in
MUTE
send return 15 place
right bus
5 20
right MUTE solo in place bus

pre 30
stereo 10
insert MC 40 solo on bus
insert +10dB
to mono 15 mono SOLO
20
mono MUTE
auto
30 1 mute
+10dB
masters
40
automute 1 bus
send return
mono bus
2
stereo mono tape SOLO automute 2 bus
L 3
+20dB
0
tape out tape in left bus automute 3 bus
mono bus
+20
tape right bus 4
R
+20dB

automute 4 bus
aux pre 1 bus
aux post 1 bus
talk Grp 1 grp 2
phantom solo meters
+48V aux pre 2 bus right
left pfl
on +21 +21 +21
aux post 2 bus
+15 +60 group 1 bus group 2 bus +18 +18 +18
grp 3 grp 4 aux pre 3 bus +15 +15 +15 pfl out
aux post 3 bus +12 +12 +12
talk
mic 2 1 +9 +9 +9
3
group 3 bus group 4 bus aux pre 4 bus
+6 +6 +6
grp 5 grp 6 aux post 4 bus phones
+3 +3 +3 MUTE
talk
external aux pre 5 bus 0 0 0
group 5 bus group 6 bus -3 -3 -3

aux post 5 bus phones
-6 -6 -6
grp 7 grp 8 0
aux pre 6 bus -9 -9 -9
-12 -12 -12

aux post 6 bus
talk in group 7 bus group 8 bus -15 -15 -15
+10
aux 7 bus -18 -18 -18
mono stereo
aux 8 bus -21 -21 -21
-24 -24 -24

mono bus left bus pfl monitor
pfl bus MUTE
talk out SOLO
150 500
on
(dim) monitor L
right bus
local
50
aux matrix left solo bus 0
5k
freq 0
-20dB
talk-matrix
OSC right solo bus +10 monitor R
+10
-20dB
generator
Dimensions and
Weights

Dimensions and Weights

Rear panel
Description

Standard location of
Multi-function Input
module Output module Mono Input module1 Recessed Littlite clip

External linear power Internal switching Littlite connector
supply connector mode power supply
mains inlet2
1
Actual number of input banks depends Verona model
2
Rear Panel Description
Refer to specifications for PSU fitting option

Specification and
Features

Verona Features
The following list of features is based upon the thirty-two channel frame size console.
The thirty-two channel Verona features:
24 mono input channels

8 stereo input channels
8 Auxiliary Outputs
1 through 6 with Global Pre/Post Fader selection and selectable Pre/Post EQ
7 & 8 with Channel selectable Pre/Post Fader selection and jumper selectable Pre/Post EQ
For jumper selection configurations, contact you local Midas service agent.
8 Group Outputs
With Aux/Group Changeover option for dual purpose FOH/Monitor applications
4 Band Equaliser
Mono Channels: 4 Swept Frequency Bands (Treble, Hi Mid, Lo Mid, Bass)
Stereo Channels: 2 Shelving Bands (Bass, Treble), 2 Swept Frequency Bands (hi mid, lo mid)
48 volt phantom power independantly switchable on each channel (always on talk mic)
Hi-Pass filter on all inputs (Mono Channels: Variable 20Hz to 400Hz, Stereo Channels: Fixed 80Hz)
Signal Generator
32 Channel Inserts (jumper selectable pre/post insert and eq)
Type Connector Impedance Balanced Level Nom (max) No.

Inputs Microphone XLR(f) 1k5 ohm Yes Variable (+21dBu) 32
M Ch Line Input 1/4” TRS Jack 10k ohm Yes Variable (+36dBu w/pad) 24
MF Ch Line Input 1/4” TRS Jack 10k ohm Yes Variable (+26dBu) 16
Direct Input 1/4” TRS Jack 10k ohm Yes Variable (+26dBu) 4
Tape Input RCA Phono 47k ohm No -10dBu (+26dBu) 2
Talk Mic XLR(f) 1k5 ohm Yes Variable (+6dBu) 1
Talk Input XLR(f) 10k ohm Yes 0dBu (+26dBu) 1
Outputs Direct Out 1/4” TRS Jack 100 ohm Impedance Bal. 0dBu (+21dBu) 24
Groups XLR(m) 50 ohm Yes 0dBu (+21dBu) 8
Auxiliary XLR(m) 50 ohm Yes 0dBu (+21dBu) 8
Matrix XLR(m) 50 ohm Yes 0dBu (+21dBu) 4
Talk Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 1
Master Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 3 (LCR)
Monitor Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 2 (LR)
PFL Out XLR(m) 50 ohm Yes 0dBu (+21dBu) 1 (M)
Tape Out RCA Phono 600 ohm No -10dBu (+11dBu) 2
Headphones 1/4” TRS Jack To drive headphones > 100 ohm +10dBu (+21dBu) 1
Inserts Input 1/4” TRS Jack 50/10k ohm (s/r) No 0dBu (+21dBu) (send/ret) 32
Group 1/4” TRS Jack 50/10k ohm (s/r) No 0dBu (+21dBu) (send/ret) 8
Master 1/4” TRS Jack 50/10k ohm (s/r) No 0dBu (+21dBu) (send/ret) 3
Total XLR input count 34

Total Jack input count 44
Total RCA Phono input count 2
Total XLR output count 27

Total Jack output count 25
Total RCA Phono output count 2
Total insert count 43
XLR RCA (Tape In/Out)

1
3
2 Pin 1 - Screen/Ground Centre (Tip) - Signal
Pin 2 - Hot Signal Surround (Sleeve) - Screen
Pin 3 - Cold Signal
2
3
1 Note: Sockets are viewed from the front
face.
Quarter Inch Jack

TRS Signal TRS Insert TRS Headphone
Sleeve Screen/Ground Screen/Ground Screen/Ground
Ring Cold Signal Insert Return Right
Tip Hot Signal Insert Send Left

Verona Specification
Internal Power Supply
Type Switching
Line Voltage 90 - 240V AC
Line Frequency 50/60Hz
Input Impedance
Microphone 1k5 ohm Balanced
Line 10k ohm Balanced
Input Gain (all faders at 0dB)

Microphone Continuously variable from +15dB to +60dB
Microphone + Pad Continuously variable from 0dB to +45dB
Mono Channel Line Continuously variable from 0dB to +45dB
(-15dB to +30dB Pad enabled)
Stereo Channel Line Continuously variable from off to +20dB
Direct Inputs Continuously variable from off to +20dB
Maximum Input Level

Mic +6dBu
Mic + Pad +21dBu
Mono Channel Line +21dBu (+36dBu pad enabled)
Stereo Channel Line +26dBu
CMR at 100Hz
Microphone (Gain +40dB) Typ 95dB
Microphone + Pad (Gain 0dB) Typ 80dB
Line (Gain 0dB) Typ 80dB
CMR at 1kHz
Microphone (Gain +40dB) Typ 95dB
Microphone + Pad (Gain 0dB) Typ 80dB
Line (Gain 0dB) Typ 80dB
Frequency Response (20Hz to 20kHz)

Microphone to Mix +0 to -1dB
Noise 20Hz to 20kHz

Microphone EIN ref. 150 ohms (Gain +60dB) -129dBu
System Noise (20Hz to 20kHz)

Summing Noise (48 channels
routed with faders down) -80dB
Line to Mix Noise (48 channels

routed at 0dB, pan centre) -75dB
Distortion at 1kHz
Microphone to Mix (Gain +40dB,
0dBu output) <0.03%
Crosstalk at 1kHz
Channel to Channel < -90dB
Mix to Mix < -90dB
Channel to Mix < -90dB
Max. Fader Attenuation > 100dB
Max. Mute Attenuation > 100dB
Output Impedance
All Line Outputs 50 ohms Balanced Source to drive > 600 Ohms
Tape Output 600 ohms unbalanced
Direct Output 100 ohms impedance balanced
Insert Output 50 ohms unbalanced
Headphones to drive > 100 ohms
Maximum Output Level

All Line Outputs +21dBu
Headphones +21dBu
Nominal Signal Level

Microphone -60dBu to 0dBu
Line 0dBu
Headphones +10dBu

Verona Specification
Equalisation
Mono Hi-pass slope 12dB/octave
Channels Treble Band Cut/Boost +/-15dB
Frequency range 2kHz to 20kHz
Hi Mid Band Cut/Boost +/-15dB

Frequency range 400Hz to 8kHz
Bandwidth 1 Octave
Lo Mid Band Cut/Boost +/-15dB

Bandwidth 1 Octave
Bass Band Cut/Boost +/-15dB

Frequency range 20Hz to 400Hz
Stereo Treble Band Cut/Boost +/-15dB

Channels Frequency (-3dB) 12kHz
Hi Mid Band Cut/Boost +/-15dB

Bandwidth 1 Octave
Lo Mid Band Cut/Boost +/-15dB

Frequency range 100Hz to 1.2kHz
Bandwidth 1 Octave
Bass Band Cut/Boost +/-15dB

Frequency (-3dB) 100Hz
Power Supply Information

The number of power supplies shipped as standard with the Verona varies with the frame size as follows:
Channels Internal External Redundancy

24 - 32 1 0 NO
40 - 56 2 0 YES
64 2 1 YES
The internal supplies on the 64 channel Verona should be switched on at approximately the same time so that excessive
load is not applied to any single supply.
The external power supply can be used to add or increase redundancy or to replace the internal supplies. The external
supply has a “daisy chain” facility (as shown below) allowing for a number of power supplies to be used together adding
redundancy to the system in the event of a power supply failing.
To console
Connection 6 Pin Male XLR
Front View Rear View
Pin 1 0V Analogue
PSU 1
CAUTION CHECK VOLTAGE SELECTOR

RISK OF ELECTRIC SHOCK BEFORE APPLYING MAINS.
DO NOT OPEN
WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK,
Pin 2 +18V Analogue

PUSH DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
PUSH
AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR.
Pin 1 - 0VA
Pin 2 - + 18V NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO
_ QUALIFIED SERVICE PERSONNEL.
Pin 3 - 18V
Pin 4 - + 12V CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF
Pin 5 - + 48V FIRE REPLACE WITH THE SAME TYPE AND VALUE FUSE INDICATED.
MADE IN KIDDERMINSTER, ENGLAND
Pin 6 - 0VL ATTENTION: REMPLACER PAR UM FUSIBLE DE MÊME TYPE
DC Output / Link COMME INDIQUÉ.
Pin 3 -18V Analogue

DC Output / Link SUPPLY
VOLTAGE
Power 100V/120V/220V/240V
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING CONDITIONS: AC~50-60Hz 460W
+48V +12V _ 18V +18V

(1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND FUSE: 5x20mm
Low (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION. T5A L250V C US
Mains
Pin 4 +12V Gooseneck Light

Pin 5 +48V Phantom
PSU 2
CAUTION CHECK VOLTAGE SELECTOR

RISK OF ELECTRIC SHOCK BEFORE APPLYING MAINS.
DO NOT OPEN
PUSH
WARNING: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE
PUSH
AVIS: RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR.
Pin 1 - 0VA
Pin 6 0V Gooseneck Light

Pin 2 - + 18V NO USER SERVICEABLE PARTS INSIDE REFER SERVICING TO
_ QUALIFIED SERVICE PERSONNEL.
Pin 3 - 18V
Pin 4 - + 12V CAUTION: FOR CONTINUED PROTECTION AGAINST RISK OF
Pin 5 - + 48V FIRE REPLACE WITH THE SAME TYPE AND VALUE FUSE INDICATED.
MADE IN KIDDERMINSTER, ENGLAND
Pin 6 - 0VL ATTENTION: REMPLACER PAR UM FUSIBLE DE MÊME TYPE
DC Output / Link COMME INDIQUÉ.
DC Output / Link SUPPLY
VOLTAGE
Power 100V/120V/220V/240V
Case Chassis
THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATION IS SUBJECT TO THE FOLLOWING CONDITIONS: AC~50-60Hz 460W
+48V +12V _ 18V +18V

(1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND FUSE: 5x20mm
Low (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION. T5A L250V C US
Mains
To subsequent supplies
Under NO circumstances should the Venice series power supply be used with the Verona. Only the Midas
V190 Linear External Power Supply is approved for use with Verona consoles.
Servicing and Maintenance
Both the Verona and the Midas V190 linear external power supply both contain potentially lethal voltages and
should only be serviced by authorised Midas service agents. In the event of malfunction, please refer servicing
to qualified personnel. Contact your Midas dealer for more information.
Due to a policy of continual improvement, Midas reserves the right to alter the specification and performance at any time without prior notification.

Crib Sheet Mono Input
Notes:
Crib Sheet
Multi Function Input
Notes:
Midas Verona Operators Manual
Issue 1.1 - February 2004
DOC02-Verona
Due to a policy of continual product improvement, specification and features

may be subject to change without notice.

Manual Midas Verona

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OPERATORS MANUAL

Klark Teknik Group,

Tel:+44 1562 741515

WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK,

The lightning flash with arrowhead symbol, within an equilateral

The exclamation point within an equilateral triangle is intended to alert

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with a dry cloth.

11. Only use attachments / accessories specified by the manufacturer.

We, Klark Teknik Group (UK) Plc

Declare that a sample of the following product:-

Directive(s) Test Standard(s)

Signed:............................ Date: 1st January 2004

A Subsidiary of Telex Communications, Inc.

Enjoy your new Midas Verona Console!

Mono Input Channels 7

Multifunction Input Channels 13

Setting up the Verona 27

Functional Block Diagrams 33

Dimensions and Weights 39

Rear Panel Description 41

Specification and Features 43

Operators Manual - Page 5

Power Connection Electric Fields

The console should only be operated with high quality

1 Pin 1 - Screen/Ground Centre - Signal

Note: Sockets are viewed from the front face.

Operators Manual - Page 6

Operators Manual - Page 7

one direct output on a single impedance balanced quarter-inch jack socket

Tip - Channel Signal Send

1k PUSH mic XLR - 1. Screen - 2. Hot Signal - 3. Cold Signal

aux 1 remains the same

0 -15dB Pad - The Pad switch provides 15dB

condenser microphones, direct inject boxes red LED at the top.

The red phantom LED will light to indicate power pad

12 cancellation when the console sums the two

Operators Manual - Page 8

3-4 aux pre

Operators Manual - Page 9

100 the engineer can change the FOH level without

level on the fader so the balance between wet

Operators Manual - Page 10

Pan and Routing

The group sends can be configured in either of two modes:-

i.e. Selecting 1, 2 & 3 will send to each group equally.

0 Application Config. Reason

-18 centre detent and obeys a constant power (left-right) system.

Operators Manual - Page 11

0 15 Insert and EQ but Pre-Fader and Mute. The

aux 4 unity (i.e. no boost or cut in level from the automutes.

Operators Manual - Page 12

Operators Manual - Page 13

one insert point on a single TRS jack socket;

Balanced XLR and Jack inputs are conventionally wired:

Note: On stereo channels, the channel insert has no

Operators Manual - Page 14

0 EQ On - The channel equalisation stages are enabled by depressing the EQ on switch.