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The Meyer Sound speaker hangs in Eldborg. Image © Kristján Maack
the stage platform / orchestra pit and 24-channels of inputs from the attic of the hall. The system employs the Midas DL431 microphone preamps from the flagship XL8 digital mixing console, which includes two preamps and an analogue to digital convertor with individual control, as well as a Klark Teknik SQ1S transformer mic splitter per channel. Each input is wired to two Midas DL431 input units, that in turn provide six independent preamps and analogue to digital conver- tors to the mixing system. Each microphone input feeds two of these units in order to obtain the four individual digital outputs specified. The resulting four outputs feed different systems. One sends to the FOH system and another feeds a connection panel in the Audio Equipment Room (AER) where a portable monitor console can be connected. A third output feeds the broadcast / recording system and the final one supplies a connection panel in the AER, where por- table output boxes can be connected or patched using CAT5 cable tie lines to combination panels.
For the FOH system, a Midas PRO9 with a permanently installed DSP unit in the AER, offers the ability to mix up to 88 inputs into 35 mix busses. The desk can be set up in one of a number of locations: the middle of the orchestra level, the back of the orchestra level or in a control room. It can use all 120-microphone inputs and has eight additional line inputs in both the AER and Amplifier Rack Room (ARR). The system provides audio to eight channels on AES / EBU format (four pairs) in the ARR, which are fed through distribution amplifiers to the four Meyer Sound Galileo loudspeaker DSPs. A total of 24 line level outputs in the AER and 16 more in the ARR can be patched into the analogue tie line system. Additional I/Os are located on the mixing console’s surface and in the FOH outboard rack. The PRO9 system can mix up to 80+8 inputs at any one time, and these inputs can be ‘soft-patched’ on a scene by scene basis from the 176 inputs connected to the mixing system - leaving room to spare in the 288 input capacity. It has 32 auxiliary / matrix bus- ses in addition to the monitor out, surround out and LCR outputs. These can be ‘soft patched’ on a scene-by-scene basis to the 96 outputs connected to the mixing system. When a monitor console is not needed, the console surface that is part of the monitor system can be connected to the FOH system’s DSP unit and placed in the Sound Control Room (SCR).
The sound engineers can store their settings to a USB after sound checking and then walk to the SCR, load up the settings, swap con-
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nections in the console’s preferences and continue working. For the monitor system, a Midas PRO9 with a portable racked DSP unit, which can be connected to the front end of the system in the AER when required, has been specified. A Midas DL351 - 48 input and 16 output stagebox - can be used if the system is taken out of Eldborg for a different use.
The third Midas PRO9 is part of the broadcast / recording system. It has a permanently installed DSP unit in the AER, together with a Klark Teknik DN9696 multi-track recorder, which allows for 96-chan- nels of recording and playback at 96kHz. Finally, a portable Midas PRO9 with a stagebox - created from two Midas DL431 input modules - provides 48-channels of inputs, each one with separate preamps for two consoles. This stagebox and PRO9 can be used along with the portable Midas PRO9 monitor console in Eldborg to create a FOH / monitor pair when concerts are held in the conference hall (Silfurberg), recital hall (Norðurljós) or the fourth hall (Kaldalón). Additionally the portable mixing console includes a Klark Teknik DN9650 bridge with virtual sound card soft- ware for multi-track recording, and a Klark Teknik DN9331 graphic EQ remote control. The network bridge can also be used to interface Midas preamps to other devices, via a number of different digital protocols, such as MADI, Dante, Cobranet and Ethersound. When Artec constructed the original specification, Midas was not included. “They simply didn’t have the digital desks that Artec wanted,” explains Kristján. By the time Exton became involved, that had changed. Kristján continues: “We persuaded the house owners, Artec and the technicians that are going to be working here to look closely at Midas. We had done one installation previously in Hof in Akureyri, which worked out very well for us. We could put together a system that is both flexible, technologically viable, brand new, and still using hardware that people already recognised. The Midas system uses preamps from the XL8 Series, which is very well known and recognised, so that you almost knew beforehand how it would sound. So that made it a good choice for us.” Harpa’s Ingvar Jónsson says: “What I like most about the PRO9 is that Midas has somehow managed to get the classic Midas sound of the analogue Heritage into this console, so I would say that finally you have a digital console that sounds analogue, you’re not compro- mising. You’re getting the sound of a full size analogue console. We have the DL431 splitters with XL8 mic preamps and that was also
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