OPERATORS MANUAL

Midas
Klark Teknik Building,
Walter Nash Road,
Kidderminster.
Worcestershire.
DY11 7HJ.
England.

Tel:+44 1562 741515

Fax:+44 1562 745371

Email: midas.info@u.telex.com
Website: midasconsoles.com

MIDAS Heritage 4000 Console

Operators Manual DOC02-H4000
Issue 1.1 - February 2004

Due to a policy of continual product improvement, specification

and features may be subject to change without notice.
 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. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer,
or sold with the apparatus. When a cart is used, use caution when moving the
cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. 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.
IEC-60065-Edn7-Midas
 Klark Teknik Group (UK) Plc, Klark Teknik Building, Walter Nash Road,
Kidderminster. Worcs. DY11 7HJ. England
Tel:+44 1562 741515 Fax:+44 1562 745371
www.midasconsoles.com www.klarkteknik.com

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
Heritage 4000 Professional Audio 115V AC 8.0A 50/60Hz
Mixing Desk 230V AC 4.0A

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 EN50081/2
Class B Conduct Emissions EN55103
Class B Radiated Emissions EN55103
Fast Transient Bursts EN61000-4-4
Static Discharge EN61000-4-2
Basic Electrical Safety EN60204
LVD EN60065
Harmonics EN61000-3-2
Flicker EN61000-3-3

Signed:............................ Date: 1st September 2003

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
Thank you for purchasing a Midas Heritage 4000 mixing console. The Heritage 4000 has been developed by listening to
the needs of live sound engineers and builds upon the flexibility of the Heritage 3000.

Offering a total of forty (40) aux sends plus stereo masters, the Heritage 4000 is a comprehensive monitor console. With
it’s flexible assignable buss routing, the Heritage 4000 can be quickly configured making the Heritage 4000 just as
comfortable at the Front of House.

As you would expect from Midas, the story does not end there. The Heritage 4000 features Midas XL4 microphone pre-
amps and channel equalisation, VCA and mute automation and independent level control over each and all outputs. All
backed up, of course, with the standard Midas Three Year Warranty.

Please take the time to fill out the registration card and, to obtain the best results with a minimum of effort, read this
operators manual.

Finally, Enjoy your new Midas Heritage 4000 Console!

Contents
Installation & Operation Considerations Page 3
Wiring Diagrams Page 3

Mono Input Module Page 4

Stereo Input Module Page 10

Auxtender Pod Page 16

VCA Master Faders Page 20

Group Output Module Page 24

Matrix Output Module Page 28

Master Output Module Page 30

Monitor Output Module Page 34

Console Automation Page 38

Automation and Console Linking Walkthrough Page 46

MIDI Page 50
CANBUS Page 53

Weights and Dimensions Page 54

Rear Panel Page 56

Block Diagrams Page 58

Channel Cribsheet Page 66

Features and Specifications Page 68

Overview Page 69
Technical Specification Page 70

Operators Manual- Page 2

 ATTENTION
The following special limitations must be observed in order to maintain safety and electromagnetic compatibility
performance.

Power Connection

The console should only be operated with the power supply connected to ground via the ground in the mains connector.

Control Connections

The console should only be operated with high quality screened control cables. All connector shells should be of metal
bodied construction such that the shell provides a screen when connected to the console.

All ‘DEE’ connector shells should be connected to the cable screen.

All XLR and DIN connectors should have pin one (1) connected to the cable screen.

INSTALLATION

There are a number of points to consider when installing a mixing console, many of these points will have already been
addressed even before the console is unpacked, however it is worth repeating them.

Position

The console should be located in a convenient location commensurate with the use to which the console is being put.
Ideally a cool area is preferential not too close in proximity to electrical distribution equipment or other sources of
interference. Provision should be made for some flat surface surrounding the console to prevent it’s use as a table top.

Power

The console’s power supply should be located as far away from the console as the connecting cable will allow. It 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 Heritage 4000 console, only high quality balanced screened
twisted pair audio cable and metal bodied connectors should be used.
Female XLR 5-Pin Midas Can Bus

1 Pin 1 - Screen/Ground Pin 1 - +18V (100mA max.)

3 Pin 2 - Hot Signal Pin 2 - Can Low
PUSH

2 Pin 3 - Cold Signal Pin 3 - 0V Can

Pin 4 - Can High
Pin 5 - -18V (100mA max.)
Male XLR
2 RS-232
3 Pin 1 - Screen/Ground RS-232
1 Pin 2 - Hot Signal Pin 2 - Receive data
Pin 3 - Cold Signal Pin 3 - Transmit data
Pin 5 - GND
Note: Sockets are viewed from the front face.

Quarter Inch Jack

Sleeve - Screen/Ground To ensure compatibility between the console and
Ring - Cold Signal interconnects, always ensure connectors and cable are of
Tip - Hot Signal reputable quality.

Operators Manual- Page 3

 Mono Input Module

Operators Manual- Page 4

 p g

Auxtender Pod
a a
n
c i
0 n
1

auxtender pod
PRE l r
c
0
2

PRE l r

3
c
0 The auxtender pod provides each input channel strip with an additional 16 mixes (eight stereo auxes) making the
PRE l r
total number of ‘auxiliary’ (aux) outputs for the console forty (40).
c
0
4

PRE l r Each stereo aux send is enabled by pressing the numbered switch adjacent to the dual-concentric pan/gain
c
c
5
0
potentiometer (pot). When enabled the accompanying LED will light according to the pre/post switch position.
PRE l r
c

Green = Stereo Aux send is POST-Fader

0
6

PRE l
c
0
r
Red = Stereo Aud send if PRE-Fader
7

PRE l
c
0
r
The inner ring of the dual-concentric pot provides gain control for the aux send while the outer ring provides the
8
PAN (left-to-right balance) control, allowing the user to position the channel within a stereo image.
PRE l r

MIDAS H4002

Mono Input Module

mono input module

Mono Input Channels

INPUTS
48V +25 +35
In the process of describing the mono input dual-concentric pots
PAD Send channel, controls will be described in order or
0
O
+15
gain
+60
signal flow .
0

PRE
Return
The Heritage 4000’s mono input channels each have a
+10
5k
direct o/p

0
single balanced microphone input, an insert point via two Dual-concentric pots have an independent
1k 20k
freq
(2) quarter-inch (0.25”) TRS jack plugs and a balanced inner and outer ring to allow a greater range of
15 controls in the same surface area.
direct output all conventionally wired.
15
bell treble
2k
+/- Q
0

400
freq
8k Microphone 48V - Phantom power is provided to allow the connection of
Input
INS 15
hi-mid
15 condenser microphones, direct inject boxes and other devices that
PRE
0 require +48V phantom power to operate. When depressed the 48V
EQ

500 LED will light, indicating that +48V is being applied. 48V +25 +35
15 15
lo-mid Direct
100 2k +/-
freq
bell 0
Q Output
PAD - When enabled, the PAD switch provides 25dB attenuation to
the input signal which allows the connection of high output
100

15 microphones or line-level signals. If the input amplifier is transformer

PAD
15
bass
20 freq400
60 160
coupled (option), the pad greatly reduces the risk of saturation at
very low frequencies. When depressed the pad LED will light, +15 +60
C 0
20 freq 400
0 indicating that the pad is enabled. O gain
l

PRE
r
1
2 PRE
+6

PHASE (Ø) - The phase switch causes a 180 degree phase 0

C 0 0

change (with respect to the input) in the input amplifier. Hence

l r +6

PRE
3
4 PRE +25 +35 the input channel signal has inverse phase (with respect to the
C 0 0
input). When depressed the phase LED will light, indicating that PRE
l
5
r +6
the phase change is being applied. +10
PRE 6 PRE
C 0 0
direct o/p
l r +6
PRE - The PRE switch, in this instance, controls the operation of
7
PRE
C 0
8 PRE
0
the direct output. When enabled the pre LED is lit to indicate that
+15 +60 the direct output signal is derived PRE-Insert and PRE-EQ.
l r +6
9
PRE 10 PRE gain
It is worthy of note that in either state, the direct output is PRE-MUTE and hence is unaffected
C 0 0

l
11
r +6 0 by changes in channel mute.
PRE 12 PRE
C 0 0

l r +6
GAIN - The input gain of the Heritage 4000’s input is continuously variable from +15dB to
13
PRE
C 0
14 PRE +60dB.
0
+10
l
15
r

PRE 16 PRE
+6
direct o/p DIRECT O/P - The direct output pot allows the continuous alteration of the direct output
level from - inf (minus infinity) to +10dB.
C 0 0

l r +6
17
PRE 18 PRE

Channel Equalisation
C 0 0

l r +6
19
PRE 20 PRE
C 0 0

The treble equalisation is selectable fully parametric or high shelving via the bell switch.
l r +6
21
PRE 22 PRE
C 0 0
Treble Frequency - Selectable frequency centre. Continuously variable from 1kHz to 20kHz.
l r +6
23
PRE 24 PRE
C
5k Treble Gain - The inner dial on the dual-concentric pot controls the gain of the treble EQ
ST stage and is continuously variable from -15dB to +15dB with a centre detent at 0dB.
l pan r 0
SIS MONO

+18
+15
+12 1k 20k Treble Width - The outer dial on the dual concentric pot controls the band width of the treble
stereo
image
lcr
+9
+6
+3
freq filter when in fully parametric mode (i.e. when the bell switch isdepressed) from 0.1 to 2
0
-3
-6
-9
octaves with a centre detent at 0.5 octaves.
mute
-25
15 15
bell treble
MIDAS HS0001 Treble Bell - When depressed, the treble equaliser full parametric mode is enabled. When
released, the equaliser Midas shelving mode is enabled.

Operators Manual- Page 5

 p g

Mono Input Module

a a
n
c i
0 n
1

auxtender pod
PRE l r
c
0
2

PRE l r

3
c
0 Both the hi-mid and low-mid are fully parametric equalisers.
PRE l r
c
0 2k Hi-Mid Freq - Selects the frequency centre of the EQ. Continuously variable from 400Hz to
4
+/- Q
PRE l r 8kHz (hi-mid) and 100Hz to 2kHz (lo-mid).
c
c
0
0
5

PRE l
c
r
400 8k Hi/Lo Mid Gain - The inner dial on the dual-concentric pot controls the gain of the EQ stage
6
0
freq and is continuously variable from -15dB to +15dB with a centre detent at 0dB.
PRE l r
c
0
15 15
7
Hi/Lo Mid Width - The outer dial on the dual concentric pot controls the band width of the eq
PRE l
c
r hi-mid filter and is continuously variable from 0.1 to 2 octaves with a centre detent at 0.5 octaves.
0
8

PRE l r
0
The bass equalisation is selectable fully parametric or Midas low shelving via the bell switch.
MIDAS H4002

500 Bass Freq - Selectable frequency centre. Continuously variable from 100Hz to 400Hz.
mono input module

15 15
lo-mid Bass Gain - The inner dial on the dual-concentric pot controls the gain of the bass EQ stage
100 2k +/- and is continuously variable from -15dB to +15dB with a centre detent at 0dB.
Q
freq
48V +25 +35
Bass Width - The outer dial on the dual concentric pot controls the band width of the bass
bell 0 filter when in fully parametric mode from 0.1 to 2 octaves (i.e. when the bell switch is
PAD

O
+15
gain
+60 depressed) with a centre detent at 0.5 octaves.
0

PRE
100
5k
direct o/p
+10
Bell - When depressed, the bass equaliser full parametric mode is enabled. When released,
0
15 15 the equaliser Midas shelving mode is enabled.
1k
freq
20k
bass
20 400
bell
15
treble
15
The input strip equalisation also features a continuously variable high pass filter (HPF) from
2k
+/-
0
Q
60 160 20Hz to 400Hz. The HPF switch enables or disables the HPF from the channel strip. The HPF
400
freq
8k LED indicates whether or not the HPF is operational.
INS 15 15
hi-mid
PRE
0
20 freq 400
EQ

500

15 15
lo-mid
100 2k +/- Q
freq

Channel Operation
bell 0

100

15 15
bass
20 freq400
60 160

INS - When enabled, the INS switch enables the insert point of the channel by connecting the
INS
20 freq 400
C 0 0
channel input return to the channel signal path.
l r +6
1
PRE 2 PRE
C 0 0

l r +6
PRE - When enabled, the channel signal passes through the insert point before proceeding to the
3
PRE 4 PRE
C 0 0 PRE EQ stage (the insert is pre-EQ). When disabled, the channel signal passes through the insert point
after the EQ stage (the insert is post-EQ).
l r +6
5
PRE 6 PRE
C 0 0
i.e. Channel PRE 5k
Signal
l r +6 0
7
PRE 8 PRE 1k 20k
C 0 en freq
0
Send
15 15
l r
9
+6 bell treble
PRE 10 PRE
C 0 0 Return

PRE
r
11
12 PRE
+6
EQ - When depressed, the channels equalisation stages are enabled. When released, the

l
C 0

r
0

+6
EQ channels equalisation stages.
13
PRE 14 PRE
C 0 0

l r +6
15
PRE 16 PRE
C 0 0

Signal Routing & busses

l r +6
17
PRE 18 PRE
C 0 0

l r +6

PRE
19
20 PRE The Heritage 4000 has 24 assignable buss outputs which are discussed in more detail later in this manual). Each
C 0 0
pair of busses may be assigned:
l r +6
21
PRE 22 PRE
C 0 0
Mono Auxillary
l
23
r +6 Stereo Auxillary
PRE 24 PRE
C
Stereo Group
ST
l pan r
SIS MONO This enables the Heritage 4000 to be used as an FOH, Monitor or FOH & Monitor console depending upon the
+18
+15
+12
requirements of the user. Essentially the uses are endless, and offer the maximum flexibility to the engineer.
+9
stereo lcr +6
image +3
0
-3
-6
-9
-25
mute

MIDAS HS0001

Operators Manual- Page 6

 p g

Mono Input Module

a a
n
c i
0 n
1

auxtender pod
PRE l r
c
0
2
In MONO AUX mode:
PRE l r
c
0
3

PRE l r
The buss send pot is a dual purpose switching pot:
c
0
4
C 0 0
PRE l r
Pressing the pot will enable/disable the buss send for that channel. When depressed, the buss
active LED will light to indicate that the buss send is active and also whether the send is pre or
c
c
0
5

PRE l r
l r +6
post-fader.
c

11
0
6

PRE l
c
r PRE 12 PRE When the PRE button is depressed, the buss send is PRE-Fader, otherwise the buss send is
POST-Fader. The buss active LED is bi-colour to represent this:
0
7

PRE l r
c
0
8
Green = POST-Fade
PRE l r
Red = PRE-Fade
MIDAS H4002

Rotating the buss send pot controls the level sent to the mono aux buss.
mono input module

In this mode the operation is the same for both odd and even numbered buss sends.

In STEREO AUX mode:

48V +25 +35
The buss send pot is a dual purpose switching pot:
PAD

+15 +60
O gain
0 C 0 0 Pressing the even numbered pot will enable/disable the buss send for that channel. When
PRE
5k
direct o/p
+10 depressed, the buss active LED will light to indicate that the buss send is active and also
0 whether the send is pre or post-fader.
1k 20k
l r +6
freq
11
bell
15
treble
15
PRE 12 PRE When the PRE button is depressed, the buss send is PRE-Fader, otherwise the buss send is
2k
+/- Q POST-Fader. The buss active LED is bi-colour to represent this:
0

400 8k
freq

INS 15 15
Green = POST-Fade
hi-mid
PRE
0
Red = PRE-Fade
EQ

500

15 15 Rotating the even numbered buss send pot controls the level sent to the stereo aux buss.
lo-mid
100 2k +/- Q
freq
bell 0
In this mode the odd numbered buss send pot acts as the pan control placing the input signal into a stereo (left-to-
100

15 15
right) field.
bass
20 freq400
60 160
In STEREO GROUP mode:
20 freq 400
C 0 0

The buss send pot is a dual purpose switching pot:

l r +6
1
PRE 2 PRE
C 0 0
C 0 0 Pressing the even numbered pot will enable/disable the buss send for that channel. When
l
3
r +6
depressed, the buss active LED will light to indicate that the buss send is active.
PRE 4 PRE
C 0 0

l r +6
l r +6 In this mode, the even and odd buss pots have no other use as group sends are always POST-
PRE
5
6 PRE 11 Fader and POST-Pan. Hence the signal is sent at UNITY GAIN (i.e. 0dB).
C 0 0
PRE 12 PRE
l r +6
7
PRE 8 PRE
C 0 0

l
9
r +6 Pan and Routing
PRE 10 PRE
C 0 0

l r +6
PAN - The pan control defines the stereo position of the channel in a stereo group or stereo master.
11
PRE 12 PRE
C 0 0

The pan obeys constant law whereby the centre detent positions the channel in the centre of
l

PRE
r
13
14 PRE
+6
C the stereo field with each side at
C 0 0
-3dB.
l
15
r +6 ST
PRE 16 PRE

l ST - When depressed, the ST switch sends the channel output to the Stereo Master Bus via
pan r
C 0 0

l r +6
the Pan Control. The ST LED will light to indicate that the signal has been routed to the stereo
PRE
17
18 PRE SIS MONO master bus.
C 0 0

l r
19
+6 +18 MONO - When depressed, the MONO switch sends the channel output to the Mono Master
PRE 20 PRE +15
C 0 0
+12 Bus. The MONO LED will light to indicate that the signal has been routed to the mono master
l r
21
+6 +9 bus.
PRE 22 PRE stereo lcr +6
C 0 0
image +3
l r +6 0 SIS - The SIS switch enables the spacial imaging system which operates in conjunction with
23
PRE 24 PRE -3 the pan and image controls. It also acts as a left, centre, right master bus enable overriding
C
-6 any stereo and mono master bus assignments.
l
ST
-9
pan r
SIS MONO -25
+18
+15
mute
+12
+9
stereo lcr +6
image +3
0
-3
-6
-9
-25
mute

MIDAS HS0001

Operators Manual- Page 7

 p g

Mono Input Module

a a
n
c i
0 n
1

auxtender pod
PRE l r
c
0
2

PRE l
c
0
r
C IMAGE - When the spacial imaging system is active the IMAGE control can modify the action
3
of the pan control so as to place the channel within a three speaker system. When the image
PRE l
c
0
r
ST control is fully clockwise the pan control will operate in full left, centre, right such that a
4
centre panned signal will route to the centre speaker only and will not appear in either of the
PRE l r l pan r
5
c
c
0 left or right outputs. When the image control is fully anti-clockwise the pan control reverts to
PRE l r
SIS MONO stereo such that a centre panned signal will route at equal power to the left and right
6
c
0 speakers. All other Image control positions generate a composite blend of the stereo and LCR
PRE
+18 panning systems so that the optimum degree of center image focus and speaker power can
l
c
r
+15
7
0

+12 be obtained. When the image control and pan control are both set central the channel will be
PRE l r +9 routed with equal power to all three speakers. Constant power is maintained at all times so
c
stereo lcr +6
8
0
that the image can be adjusted during the show without any perceived level change.
PRE l
image +3
r
0
MIDAS H4002
-3 MUTE - The MUTE switch mutes the input channel at all points after the insert send (i.e. all
-6 aux, buss sends etc..). The switch can also be controlled from snapshot automation.
-9
mono input module

-25
mute LED Signal Meter - The input channel signal can be monitored with the in-line channel
meter which is pre-fader and post insert and EQ.

48V +25

PAD
+35 Input Fader
+15 +60
O gain
0

safe’s The input fader panel can be used as a conventional channel fader or as part of the
PRE
5k
direct o/p
+10
automation system.
0
MUTE
1k 20k
freq
Safe switches disable any remote control over the channel as selected:
15 15
bell treble
2k
FDR
+/-
0
Q
MUTE Safe - The channel mute will not be affected by automute or snapshot automation
400 8k
freq
AUTO solo
INS 15
hi-mid
15 FDR Safe - The channel fader will not be affected by virtual fader automation or the VCA
PRE
0 master fader (including VCA mutes).
EQ

500

15 15
AUTO Safe - The channel will not be affected by snapshot automation. Automutes, VCA
100
freq
2k +/-
lo-mid
Q
SET 10 masters and assignment systems will remain active.
bell 0

100

15
1 SET - The set switch is a momentary switch that toggles the VCA and mute assignments for
5
15
bass
20 freq400
60 160
the channel.
20 freq 400
2
C 0 0
0 In the central console, either mute or VCA operation can be selected. Then using the assign
keys, the appropriate VCA or automute can be selected. Pressing the channel set switch for
l r
1
+6
3
PRE
C 0
2 PRE
0
more than half a second will erase the existing VCA or automute assignments and then
5 accept the new ones. A quick press will simply toggle the new settings.
l

PRE
r
3
4 PRE
+6
4
C 0 0
i.e. If the channel is assigned to VCA 1,3 and 4 and the assign keys are then set to 1 and 2
l
5
r

PRE 6 PRE
+6
5 10 and the channel set button is pressed quickly. The resulting VCA assignment for the channel
C 0 0 would be VCA’s 2,3 and 4.
l r +6

PRE
7
8 PRE
6 When setting mute or VCA assignments, the current assignment will be shown in the ten
C 0 0 20
(10) LED’s adjacent to the fader.
l r +6

PRE
9
10 PRE
7
C 0 0
30 SOLO - The SOLO switch sends the input channel signal to the PFL mono and AFL stereo
l
11
r +6
8 busses. If the switch is pressed for a short time it will latch on or off, but if it is held on for
PRE 12 PRE
C 0 0
40 more than 1 second the latching is disabled and when the switch is released the channel
l r +6
solo will turn off. As a default the solo system is auto cancelling so each new solo cancels the
PRE
13
14 PRE
9 50 last. This function is time dependant which allows several solos to be active as long as they
C 0 0

are switched on at approximately the same time. The SOLO ADD MODE switch on the
l r +6

PRE
15
16 PRE
10 MONITOR module defeats the auto cancelling and allows multiple channel monitoring. In
C 0 0
dB this mode input solos have priority over outputs and will temporarily override any active
l
17
r +6 output solos. The input solos also override any active VCA solos.
PRE 18 PRE
C 0 0

l r +6
The FADER function varies according to the virtual fader setting. Normally, the fader gives
19
PRE
C 0
20 PRE
0
continuous adjustment of the input channel level from off (-inf) to +10dB.
l r +6
21
PRE 22 PRE
In Virtual fader mode, the ‘real’ fader is used to trim the ‘virtual’ fader shown on the fader LEDs. When taken to
C 0 0
0dB the fader trims the virtual fader level (i.e. at 0dB the channel level is that of the virtual fader snapshot
l r
23
+6 memory but can be trimmed to +10dB or down to -inf).
PRE 24 PRE
C

l
ST
In addition to showing VCA and mute assignments, the ten (10) LED’s adjacent to the channel fader perform a
pan r
SIS MONO number of different operations depending upon the settings on the central console.
+18
+15
+12
+9
stereo lcr +6
image +3
0
-3
-6
-9
-25
mute

MIDAS HS0001

Operators Manual- Page 8

 p g

Input Fader
a a
n
c i
0 n
1

auxtender pod
PRE l r
c
0
2

PRE

3
l
c
0
r
safe’s FADER MANUAL RECALL AND NULL
PRE l
c
r
MUTE
4
0
In this mode, the STATUS LEDs are used to prompt the operator where to move the fader. If
PRE l r the fader is not at the position stored in the current recalled snap shot, one/two LEDs will flash
5
c
c
0 FDR to indicate where the fader should be. A single flashing LED indicates that the fader should
PRE l
c
r
positioned next to that LED, if two LEDs are flashing the fader should be between the two
6
0

AUTO solo LEDs. As the fader is moved closer to the required position the LED(s) will stop flashing and
PRE l
c
0
r
will be replaced by a single continuously lit LED. Once the fader is at the correct position all
7
LEDs will extinguish.
PRE l r
c
0
8

PRE l r
SET 10 FADER POSITION CHECK
MIDAS H4002

1 When a scene's contents are being "checked" (see automation operation) the STATUS LEDs
5 will indicate the fader position stored in the scene by continuously illuminating one or two
mono input module

LEDs as appropriate.
2
0 VIRTUAL FADER RECALL
3
When in VIRTUAL FADER mode (see automation operation) the automation system will
48V +25 +35
5 generate a "virtual" fader, set to the level of the input fader at the time the snap shot was
PAD 4
O
+15
gain
+60 stored. The level of the virtual fader is added to the level of the physical input fader. In this
0
mode the STATUS LEDs indicate the "position" of the virtual fader by illuminating a bar of
PRE 5 10
5k
direct o/p
+10
LEDs starting at off (-inf).
0

1k 20k
freq
6
bell
15
treble
15 20
2k
+/- Q
0
7
400
freq
8k
30
INS 15 15
hi-mid
PRE
0
8
EQ
40
500

15
lo-mid
15
9 50
100 2k +/- Q
freq
bell 0

100
10
15
bass
15 dB
20 freq400
60 160

20 freq 400
C 0 0

l r +6
1
PRE 2 PRE
C 0 0

l r +6
3
PRE 4 PRE
C 0 0

l r +6
5
PRE 6 PRE
C 0 0

l r +6
7
PRE 8 PRE
C 0 0

l r +6
9
PRE 10 PRE
C 0 0

l r +6
11
PRE 12 PRE
C 0 0

l r +6
13
PRE 14 PRE
C 0 0

l r +6
15
PRE 16 PRE
C 0 0

l r +6
17
PRE 18 PRE
C 0 0

l r +6
19
PRE 20 PRE
C 0 0

l r +6
21
PRE 22 PRE
C 0 0

l r +6
23
PRE 24 PRE
C

ST
l pan r
SIS MONO

+18
+15
+12
+9
stereo lcr +6
image +3
0
-3
-6
-9
-25
mute

MIDAS HS0001

Operators Manual- Page 9

 Stereo Input Module

Operators Manual- Page 10

 NO

st aux 1
0

Auxtender Pod
auxtender pod
PRE
gain +6
NO
0

st aux 2
PRE
gain +6
NO
0
The auxtender pod provides each input channel strip with an additional 16 mixes (eight stereo auxes) making the
total number of ‘auxiliary’ (aux) outputs for the console forty (40).
st aux 3
PRE
gain +6
NO
0

st aux 4
PRE
gain +6
Each stereo aux send is enabled by pressing the numbered switch adjacent to the gain potentiometer (pot). When
NO
0 enabled the accompanying LED will light according to the pre/post switch position.
st aux 5
PRE
gain +6
NO

st aux 6
0
Green = Stereo Aux send is POST-Fader
PRE
gain +6 Red = Stereo Aud send if PRE-Fader
NO
0

st aux 7
PRE
gain +6 The gain pot is continuously variable from off (-inf) to + 6dB.
NO
0

st aux 8
PRE
gain +6

MIDAS H404

Stereo Input Module

stereo input module

INPUTS Stereo Input Channels

In the process of describing the stereo input channel, controls will be described in order
Send Left
48V +25 +35 of signal flow.
PAD

O
+15
gain
c
+60

0
The Heritage 4000’s stereo input channels each have two (2) balanced microphone inputs and one
O
insert point per input (i.e. two inserts per channel) on conventionally wired TRS quarter-inch
balance
5k
Send Right (0.25”) jack plugs.
0

1k 20k
freq

15 15 Return
The insert points are balanced and hence two TRS quarter inch jacks provide the send and return
bell treble
2k hi ‘Q’ Microphone for each insert.
0 Left Input
400
Note that stereo channels do not carry a direct output.
8k
freq

INS 15 15
hi-mid
PRE

EQ
0
For clarity, both the inputs and inserts are labelled left and right.
Microphone
500
Right Input
15 15
lo-mid
100 2k
freq hi ‘Q’
bell 0 48V - Phantom power is provided to allow the connection of condenser microphones, direct inject
100
boxes or other devices requiring +48V Phantom power to operate. When
15 15 depressed, the 48V LED will light, indicating that phantom power is being
bass
48V
20 freq400
60 160 applied. NOTE: On stereo modules, +48V phantom is applied to both left +25 +35
20 freq 400
and right inputs.
C 0 0
PAD
l
1
r +6 PAD - Pad provides 25dB of attenuation to both input signals to allow the connection of
PRE 2 PRE
C 0 0
high output microphones or line-level signals. If the input signal is transformer coupled +15 +60
(option), the use of the pad greatly reduces the risk of saturation at very low frequencies. O gain
l
3
r +6
c
PRE 4 PRE
C 0
The pad LED will light when 25dB of attenuation is being applied.
0

O
l
5
r

PRE 6 PRE
+6
PHASE Ø - The phase switches cause a 180 degree phase change (with respect to the
C 0 0
input) to occur in the input amplifier. The upper switch acts upon the left input whereas l r
l r +6 the lower switch acts upon the right input allowing separate phase alteration between balance
7
PRE 8 PRE
C 0 0
inputs.
l r +6
9
PRE
C 0
10 PRE +25 +35
0
GAIN - The input gain for both input amplifiers is continuously variable from +15dB to +60dB.
l r +6
11
PRE 12 PRE
C 0 0

l r
13
+6
+15 +60
PRE
C 0
14 PRE
0
gain
c
l r +6

PRE
15
16 PRE Balance - The balance pot is available on stereo input modules only and allows for the
C 0
reciprocal adjustment of the stereo left and right signals by +10dB to -10dB. This allows the
0

l r
17
+6
l r fine adjustment of the left and right signal levels.
PRE
C 0
18 PRE
0 balance
l r +6
19
PRE 20 PRE

l
C 0

r +6
0
Channel Equalisation
21
PRE 22 PRE
C 0 0

5k The treble equalisation is selectable 1.5 octave peaking (bell) or Midas shelving via the bell
l r
23
+6 switch.
PRE 24 PRE
C 0

l l r
Freq - The frequency centre of the EQ is continuously variable from 1kHz to 20kHz.
pan r
ST MONO
1k 20k
freq
18
15
12
Treble - Controls the gain of this EQ stage and is continuously variable from -15dB to +15dB
9
6
3
15
with a centre detent at 0dB.
0 15
9
3
6 bell treble
25
mute Bell - The bell switch selects between classic Midas Shelving EQ (bell switch OUT) and 1.5
MIDAS XL0004 octave bandwidth Bell EQ (bell switch IN).

Operators Manual- Page 11

 NO

st aux 1
0

Stereo Input Module

auxtender pod
PRE
gain +6
NO
0

st aux 2
PRE
gain +6
NO
0
2k hi ‘Q’ Both the lo-mid and hi-mid sections are selectable 1.5 or 0.5 octave equalisers.
st aux 3
PRE
gain +6
0
NO

st aux 4
0 Freq - The frequency centre of the EQ is continuously variable from 400Hz to 8kHz (hi-
PRE
gain +6
400 8k mid) and 100Hz to 2kHz (lo-mid).
NO
0 freq
st aux 5
PRE
gain +6 lo/hi-mid - Controls the gain of this EQ stage and is continuously variable from -15dB to
NO
0 15 15 +15dB with a centre detent at 0dB.
st aux 6
PRE
gain +6
hi-mid
NO

st aux 7
0
hi ‘Q’ - When depressed the bandwidth of the EQ section is set to 0.5 octaves or Hi ‘Q’.
0
NO
PRE
gain +6
Otherwise the bandwidth of the EQ is set to 1.5 octaves
0

st aux 8
PRE
gain +6
500 The bass equalisation is selectable 1.5 octave or Midas shelving via the bell switch.
MIDAS H404

15 15 Freq - The frequency centre of the EQ is continuously variable from 20Hz to 400Hz.
stereo input module

lo-mid
100 2k Bass - Controls the gain of this EQ stage and is continuously variable from -15dB to
freq hi ‘Q’
+15dB with a centre detent at 0dB.

bell 0
48V +25 +35
Bell - The bell switch selects between classic Midas Shelving EQ (bell switch OUT) and 1.5
PAD
octave bandwidth Bell EQ (bell switch IN).
O
+15
gain
c
+60
100
O
0
Freq - The High Pass filter frequency is continuously variable from 20Hz to 400Hz and is
balance
15 15 enabled by pressing the HPF switch in. The HPF LED indicates the status of the HPF.
5k

0
bass
1k
freq
20k 20 freq400
15 15
bell treble 60 160
2k hi ‘Q’

400 8k
freq

INS 15 15 20 freq 400

hi-mid
PRE
0
EQ

500

Channel Operation
15 15
lo-mid
100 2k
freq hi ‘Q’
bell 0

100
INS - When depressed, the insert point of the channel is engaged and the input return is connected to
20 freq400
15
bass
15
INS the channel signal path.
60 160

20 freq 400
PRE - When the pre switch is depressed the insert is selected PRE-EQ, otherwise the insert is selected
PRE
C 0 0

POST-EQ (i.e. the signal passes through the EQ before the insert point).
l r +6
1
PRE 2 PRE
C 0 0

l
3
r

PRE 4 PRE
C 0
+6
EQ EQ - The EQ switch enables the channel equalisation (including HPF) when depressed or bypasses the
channel equalisation when released.
0

l r +6
5
PRE 6 PRE
C 0 0

PRE
r
7
8 PRE
+6
Signal Routing and Busses
C 0 0

l r
9
+6 The Heritage 4000 has, in addition to the 8 stereo auxes, 24 assignable buss outputs which are discussed in
PRE
C 0
10 PRE
0
more detail later in this manual. Each pair of busses may be assigned:
l r +6

PRE
11
12 PRE Mono Auxiliary
C 0
Stereo Auxiliary
0

PRE
r
13
+6
Stereo Group
14 PRE
C 0 0

l r +6 This enables the Heritage 4000 to be used as an FOH, Monitor or FOH & Monitor console depending upon the
15
PRE
C 0
16 PRE
0
requirements of the user. The control over the assignable buss sends will change according to the status of the
buss output modules.
l r +6
17
PRE 18 PRE
C 0 0
In MONO AUX mode:
l r +6
19
PRE 20 PRE
C 0 0
C 0 0 The buss send pot is a dual function switching pot. Pressing the odd or even numbered pot
l r +6
will enable the buss send. When enabled, the buss send LED will light according to the
PRE
21
22 PRE setting of the PRE switch. With the PRE switch depressed, the signal will be sent PRE-Fader
C 0 0
l r +6 to the buss, otherwise the signal will be sent POST-Fader to the buss and the bi-colour LED
l r
23
+6
13 will represent this:-
PRE 24 PRE PRE 14 PRE
C
GREEN - Buss send enabled and POST-Fader
C 0 0 RED - Buss send enabled and PRE-Fader
l pan r l r

ST MONO
NONE - Buss send disabled
18
15
12
9
6
3 l r +6 The odd and even numbered buss sends control the level of signal sent to the buss. The buss
0
3
6
15 send is continuously variable from off (-inf) to +6dB.
mute
9
25 PRE 16 PRE
MIDAS XL0004 NOTE: When in mono aux mode, a mono sum of the left and right inputs are sent to the buss.

Operators Manual- Page 12

 NO

st aux 1
0

Stereo Input Module

auxtender pod
PRE
gain +6
NO
0

st aux 2
PRE
gain +6
NO
0 In STEREO AUX mode:
st aux 3
PRE
gain +6
NO

st aux 4
0 The buss send pot is a dual function switching pot. Pressing the odd or even numbered pot will
PRE
gain +6
C 0 0 enable the buss send
NO
0

st aux 5
PRE
gain +6 When enabled, the buss send LED will light according to the setting of the PRE switch. With
l r +6 the PRE switch depressed, the signal will be sent PRE-Fader to the buss, otherwise the signal
NO
0

st aux 6
PRE
gain +6
13 will be sent POST-Fader to the buss and the bi-colour LED will represent this:-
NO
0
PRE 14 PRE
st aux 7
C 0 0
NO
PRE
gain +6
GREEN - Buss send enabled and POST-Fader
st aux 8
0
RED - Buss send enabled and PRE-Fader
PRE
gain +6
NONE - Buss send disabled
MIDAS H404 l r +6
15
PRE 16 PRE The odd and even numbered buss sends control the level of signal sent to the buss. The buss
stereo input module

send is continuously variable from off (-inf) to +6dB.

NOTE: When in stereo aux mode the odd numbered buss send pot sends the left input and the even numbered
buss send pot send the right input.
48V +25 +35

PAD
In STEREO GROUP mode:
+15 +60
O gain
c

O
0
The buss send pot is a dual function switching pot. Pressing the odd or even numbered pot will
C 0 0 enable the buss send.
balance
5k

1k
freq
20k
In stereo group mode the left input is sent to the odd numbered buss and the right input sent
15 15 l r +6 to the even numbered buss. The signal is always send POST-Fader and POST-Pan at unity
bell treble
2k hi ‘Q’ 13 gain. Hence the buss send pots have no other function.
0 PRE 14 PRE
400 8k
freq C 0 0
INS 15 15
hi-mid
PRE
0
EQ

500 l r +6
15
lo-mid
15
15
100
freq
2k
hi ‘Q’ PRE 16 PRE
bell 0

100

15 15
bass
20 freq400
60 160
Pan and Routing
20 freq 400
C 0 0

PAN - The stereo input channel has two pan controls, one for each input. Hence each input
l

PRE
r
1
2 PRE
+6
C can be placed anywhere in the stereo image. As well as placement, the pan controls can be
C 0 0
used to adjust the image width from full stereo to mono through to reverse stereo (left and
l
3
r +6 right crossed over).
PRE 4 PRE
C 0 0 l pan r l r
Both pan controls have a constant power law (i.e. -3dB at the centre detent).
l r
5
+6
ST MONO
PRE 6 PRE
C 0 0

18 ST - Connects the post fader channel signal to the master stereo buss via the pan controls.
l r
7
+6
15
PRE 8 PRE 12
C 0 0
9 MONO - Connects a mono sum of the post fader channel signal to the master mono buss
l r +6 6
9
3
PRE
C 0
10 PRE
0
0
MUTE - The mute switch mutes the input channel at all points after the insert send. The mute
l r +6
3 switch can also be controlled by the snapshot automation system.
PRE
11 6
12 PRE
C 0 0 9
25 METERS - The meters show the peak pre-fader, post-EQ and insert input signal level of the
l

PRE
r
13
+6
mute input channel.
14 PRE
C 0 0

l r +6
15
PRE 16 PRE MIDAS XL0004
C 0 0

l r +6
17
PRE 18 PRE
C 0 0

l r +6
19
PRE 20 PRE
C 0 0

l r +6
21
PRE 22 PRE
C 0 0

l r +6
23
PRE 24 PRE
C

l pan r l r

ST MONO

18
15
12
9
6
3
0
3
6
9
25
mute

MIDAS XL0004

Operators Manual- Page 13

 NO

st aux 1
0

Stereo Input Module

auxtender pod
PRE
gain +6
NO
0

st aux 2
PRE
gain +6
NO
0

st aux 3
PRE
gain +6
safe’s The input fader panel can be used as a conventional channel fader or as part of the
NO
0 automation system.
st aux 4
PRE
MUTE
gain +6
NO

st aux 5
0
Safe switches disable any remote control over the channel as selected:
PRE
gain +6
FDR
MUTE Safe - The channel mute will not be affected by automute or snapshot automation
NO
0

st aux 6
PRE
gain +6 AUTO solo
FDR Safe - The channel fader will not be affected by virtual fader automation or the VCA
NO
0

st aux 7
PRE
gain +6
master fader (including VCA mutes).
NO
0

st aux 8
PRE
gain +6
SET 10 AUTO Safe - The channel will not be affected by snapshot automation. Automutes, VCA
MIDAS H404
masters and assignment systems will remain active.
stereo input module

1
5
SET - The set switch is a momentary switch that toggles the VCA and mute assignments for
2 the channel.
0
3 In the central console, either mute or VCA operation can be selected. Then using the assign
48V +25 +35

keys, the appropriate VCA or automute can be selected. Pressing the channel set switch for
PAD

+15 +60
5 more than half a second will erase the existing VCA or automute assignments and then
O gain 4
accept the new ones. A quick press will simply toggle the new settings.
c
0
O

balance
5k

0 5 10 i.e. If the channel is assigned to VCA 1,3 and 4 and the assign keys are then set to 1 and 2
1k
freq
20k
and the channel set button is pressed quickly. The resulting VCA assignment for the channel
bell
15
treble
15
6 would be VCA’s 2,3 and 4.
2k

0
hi ‘Q’
20
400 8k When setting mute or VCA assignments, the current assignment will be shown in the ten (10)
freq
7
INS LED’s adjacent to the fader.
PRE
15
hi-mid
15
30
0
EQ
8 SOLO - The SOLO switch sends the input channel signal to the PFL mono and AFL stereo
40
500

15
lo-mid
15 busses. If the switch is pressed for a short time it will latch on or off, but if it is held on for
100 2k
hi ‘Q’
9 more than 1 second the latching is disabled and when the switch is released the channel solo
freq
bell 0 50 will turn off. As a default the solo system is auto cancelling so each new solo cancels the last.
100
This function is time dependant which allows several solos to be active as long as they are
15
bass
15
10 switched on at approximately the same time. The SOLO ADD MODE switch on the MONITOR
20 freq400
60 160 dB module defeats the auto cancelling and allows multiple channel monitoring. In this mode
C 0
20 freq 400
0
input solos have priority over outputs and will temporarily override any active output solos.
The input solos also override any active VCA solos.
l r +6
1
PRE 2 PRE
The FADER function varies according to the virtual fader setting. Normally, the fader gives continuous
C 0 0

l
3
r +6
adjustment of the input channel level from off (-inf) to +10dB.
PRE 4 PRE
C 0 0

l r +6
In Virtual fader mode, the ‘real’ fader is used to trim the ‘virtual’ fader shown on the fader LEDs. When taken to
5
PRE 6 PRE
C 0 0
0dB the fader trims the virtual fader level (i.e. at 0dB the channel level is that of the virtual fader snapshot
memory but can be trimmed to +10dB or down to -inf).
l r +6
7
PRE 8 PRE
C 0 0
In addition to showing VCA and mute assignments, the ten (10) LED’s adjacent to the channel fader perform a
l r
9
+6 number of different operations depending upon the settings on the central console.
PRE 10 PRE
C 0 0

l r +6
FADER MANUAL RECALL AND NULL
11
PRE 12 PRE
C 0 0

In this mode, the STATUS LEDs are used to prompt the operator where to move the fader. If the fader is not at the
position stored in the current recalled snap shot, one/two LEDs will flash to indicate where the fader should be. A
l r +6
13
PRE 14 PRE
C 0 0
single flashing LED indicates that the fader should positioned next to that LED, if two LEDs are flashing the fader
l r
15
+6 should be between the two LEDs. As the fader is moved closer to the required position the LED(s) will stop flashing
PRE 16 PRE
C 0 0 and will be replaced by a single continuously lit LED. Once the fader is at the correct position all LEDs will
l r +6
extinguish.
17
PRE 18 PRE
C 0 0

FADER POSITION CHECK

l r +6
19
PRE 20 PRE
C 0 0
When a scene's contents are being "checked" (see automation operation) the STATUS LEDs will indicate the fader
l
21
r +6 position stored in the scene by continuously illuminating one or two LEDs as appropriate.
PRE 22 PRE
C 0 0

l r +6
VIRTUAL FADER RECALL
23
PRE 24 PRE
C
When in VIRTUAL FADER mode (see automation operation) the automation system will generate a "virtual" fader,
l pan r
ST
l

MONO
r
set to the level of the input fader at the time the snap shot was stored. The level of the virtual fader is added to the
18
15
level of the physical input fader. In this mode the STATUS LEDs indicate the "position" of the virtual fader by
12
9
6
illuminating a bar of LEDs starting at off (-inf).
3
0
3
6
9
25
mute

MIDAS XL0004

Operators Manual- Page 14

 Auxtender Pod

Operators Manual- Page 16

 mono pod module
p g

Mono Pod Module

a a
n
c i
0 n
1

PRE l r
c
0
2

PRE l
c
0
r
The mono input pod is connected to the mono channel strips on the main Heritage 4000 console internally, hence
3
there are no connections directly to it on the rear of the pod.
PRE l r
c
0
4
The mono pod module allows the routing of signal to the 8 stereo auxes (outputs on the rear of the auxtender
PRE l
c
c
0
r
pod).
5

PRE l
c
0
r
Each stereo aux send is enabled by depressing the switch adjacent to the dual-concentric pan/gain
6
potentiometer. When enabled, the accompanying LED will illuminate according to the pre/post switch.
PRE l r
c
0
7
The pre/post switch determines whether the signal is sent PRE or POST Fader. This is displayed on the LED as:-
PRE l r
c
0
8
GREEN - Aux send is enabled and POST-Fader
PRE l r
RED - Aux send if enabled and PRE-Fader
MIDAS H4002

The inner ring of the dual-concentric pot provides gain control for the aux send while the outer ring provides the
PAN (left-to-right balance) control allowing the user to position the channel within the stereo aux image.

NOTE: Unlike the Heritage 4000’s 24 assignable buss outputs, the stereo auxiliaries are always auxes.
stereo pod module

PRE gain +6
0
Stereo Pod Module
0
2

PRE gain +6
The stereo input pod is connected to the stereo channel strips on the main Heritage 4000 console internally, hence
3 0 there are no connections directly to it on the rear of the pod.
PRE gain +6

4 0 The stereo pod module allows the routing of signal to the 8 stereo auxes (outputs on the rear of the auxtender
PRE gain +6
pod).
0
5

PRE gain +6
Each stereo aux send is enabled by depressing the switch adjacent to the dual-concentric pan/gain
6 0 potentiometer. When enabled, the accompanying LED will illuminate according to the pre/post switch.
PRE gain +6

7 0 The pre/post switch determines whether the signal is sent PRE or POST Fader. This is displayed on the LED as:-
PRE gain +6

8 0 GREEN - Aux send is enabled and POST-Fader

PRE gain +6
RED - Aux send if enabled and PRE-Fader
MIDAS H4005

The pot provides gain control for the aux send which is continuously variable from off (-inf) to +6dB.

NOTE: Unlike the Heritage 4000’s 24 assignable buss outputs, the stereo auxiliaries are always auxes.
optics module

Optics Module
On the Heritage 4000 the control for the optics system has been moved to the auxtender pod.
NO
The optics system is controlled from the front panel on the auxtender pod.

Brightness - Brightness of the desk lamps (XLR Sockets on the rear of the console aux-extender pod).

_ +
ON - Turns the XLR lamps on (depressed) or off (released).
brightness

led
brightness LED Brightness - The brightness of the LEDs in the console surface (with the exception of the major function
LEDs) can be controlled.
_ +

H4052

Operators Manual- Page 17

 pod output module
direct
input
0
l
+21
+18
+15
+12
r
Output Module
+10 +9
level +6
+3
PRE 0

Meters - The 20 LED meters provide peak level metering of the stereo aux output of the desk.
-3
insert -6
-9
MUTE -12
-15
-18
SOLO -21
-24
-27 Direct Input - The level of the direct inputs (Left and Right) sent to the output is continuously variable from off (-
TALK -30

INS
-33
-36 inf) to +10dB.

l balancer Pre (insert) - When depressed the direct input signals are connected to the output channel PRE-Insert,
0
otherwise the direct input signals are connected to the output channel POST-Insert.
+10
output level
Mute (insert) - The direct input signals are muted when the mute switch is depressed.
SAFE

mute
9
Solo (insert) - The direct input signals are sent to the main Stereo AFL buss and to the main Mono PFL buss.
10
vca
solo
TALK - The console talk buss is sent to the stereo aux output.
MIDAS H4012

INS - When depressed, the stereo aux insert points (on the rear of the aux-extender pod) are engaged into the
aux output signal path. Otherwise the insert points are disabled.

Balance - Sets the stereo balance for the output.

Output Level - The stereo aux output level is continuously variable from off (-inf) to +10dB

Safe - When enabled, the stereo aux mute is removed from the automation system.

Mute - Mutes the output of the stereo aux. This can also be controlled by the mute snapshot system.

Solo - Routes the stereo aux signal to the Stereo AFL and mono PFL busses.

VCA 9/10 - Enables the stereo aux to be controlled by VCA groups 9 and/or 10 including VCA mutes.

Auxtender Pod Rear

left right

send Connections to the auxtender pod can be found on the rear in the centre. Channel
insert
connections (i.e. stereo aux sends for each channel) are connected internally so there is no
need to make further connections.
return

The auxtender pod adds two (2) insert points (left and right), two (2) direct inputs (left and
right) and two (2) outputs (left and right) per stereo auxiliary.
direct
PUSH

in left
Insert

The balanced insert points are connected by two (2) quarter inch (0.25”) TRS jack plugs
direct
conventionally wired. One send and one return for both left and right per stereo aux.
PUSH

in right

Direct In

output Two (2) balanced line-level direct inputs are provided (one left, one right) for each stereo
left
aux.

Output
output
right
Output from the consoles stereo auxes are provided on the rear of the auxtender pod by two
balanced XLR plugs conventionally wired (one left one right).

Connections
To ensure the correct and reliable operation or your Midas Heritage 4000 console, only high quality balanced
screened twisted pair audio cable and metal bodied connectors should be used.

The following diagrams are included as a guide for audio connections only, wiring for specialist cables or
connections may vary.

XLR Quarter Inch Jack

Sleeve - Screen/Ground SR T
Pin 1 - Screen/Ground 1 Ring - Cold Signal
Pin 2 - Hot Signal 3 Tip - Hot Signal
Pin 3 - Cold Signal 2
To ensure compatibility between the console and
interconnects, always ensure connectors and cable are of
Note: Sockets are viewed from the front face. reputable quality.

Operators Manual- Page 18

 VCA Master Fader

Operators Manual- Page 20

 vca master fader
MUTE VCA Master Fader
safe
AUTO solo
The VCA Master Fader panel contains ten (10) long-throw assignable VCA Faders. The Heritage
10 4000’s input channels may be assigned to any of the ten VCA’s. The Auxtender and Assignable Buss
MUTE Outs may be assigned to VCA’s 9 and 10 only.
5

0 safe MUTE - The VCA mute switch acts on any post fader input channel or sub-group that is assigned to
AUTO solo
5 be controlled from the corresponding VCA master.
10

10 The mute can also be controlled by the snapshot automation system.

20

30
5 AUTO (Safe) - When depressed, the VCA is removed from snapshot automation control over the
40
50
VCA fader and VCA mutes.
0
dB
VCA Solo - The VCA solo switches are used to monitor the VCA faders by creating a mix of all the
5 inputs and sub-groups assigned to that VCA fader and routing the signal to the solo busses.

10 If the VCA solo is pressed in briefly, the solo will latch on or off. If the solo is pressed in for more than
one second then the latch is cancelled and the solo will be cancelled as soon as the switch is
20 released.
30
When the console is in solo ADD mode, input channels take priority over VCA fader solos.
40
50 Fader - The fader adjusts the effective output level provided by the VCA continuously from off (-inf)
to +10dB.
dB
Status LEDs

The eleven (11) LEDs adjacent to the fader have a number of purposes depending upon the mode of
the automation system:

When in VCA or Mute Assignment Mode - All the status LEDs are off.

Fader Manual Recall and NULL

In this mode, the status LEDs are used to prompt the operator where to move the fader. When the fader is not at
the position stored in the current snapshot one or two LEDs will flash to indicate it’s preset position. A single
flashing LED indicates that the fader should be brought to this position. Two flashing LEDs indicate that the fader
should be positioned between the two. As the fader is moved towards the desired position the LED will light
continuously. Once the fader is in the correct position all LEDs will be extinguished.

Fader Position Check

When a scene’s contents are being checked (see the automation section) the status LEDs will indicate the fader
position by illuminating one or two LEDs as described above.

Virtual Fader Recall

When in virtual fader mode (see the automation section), the atomation system generated a ‘virtual’ fader, set to
the level of the fader at the time the snapshot was stored. The status LEDs will display the level of the fader by
illuminating all the LEDs from -inf to the position of the ‘virtual’ faderA
vca assign keys

assign
keys
VCA Assign Keys
The VCA and automute assignments are made using the assign keys.

1 The automation system must be unlocked and the correct assign mode selected (VCA or Mute). See
1 the automation section in this manual for more information.
2

3 To add a mute or VCA assignment, the desired assign keys should be selected. Normally pressing an
4
2 assign key will deselect the previous one. Should more than one key be desired, a long press of the
5 desired key will select the additional key without cancelling the previous selection.
6

7 To complete the assignment, select the channel to be assigned to the VCA or automute (see below).
8

10

Operators Manual- Page 21

 input fader
safe’s
MUTE
Input Fader
FDR

AUTO solo

10
To assign a channel to a VCA fader or the automute system, the automation system must be
set
1
unlocked and the correct assign mode selected (VCA or Mute).

set
2 5

3
Select the desired automute or VCA using the assign keys (see above) and press the channel SET key.
0
4

5
5 The channel SET key can be used in two ways:
6 10
Long Press - A long press will erase the previous VCA or automute settings for the channel and take the new
7 20
30 setting given by the assign keys.
8
40
9 50
70
Short Press - A short press will not erase the previous VCA or automute settings for the channel. Instead, the
10
dB selected assign keys will toggle the assigns for the channel.

EG: Steps: Result:

VCA 1,2,3 and 4 are already assigned to a channel The channel will now be additionally assigned to VCA 5
VCA 2 and 5 are selected on the assign keys The channel’s assignment to VCA 2 will be toggled
The channel select key is [short] pressed
i.e. The channel will now have VCA assignments to
1,3,4 and 5.

Operators Manual- Page 22

 Group Output Module

Operators Manual- Page 24

 group outputs
Group Outputs
Send
1
Return

Send
2 The Heritage 4000’s assignable buss (group) outputs are located together on the rear of the console main body.
Return
Pairs of group outputs and their corresponding insert points and direct input are located together
IN
The group insert point is provided by two balanced TRS quarter-inch jack sockets, one send and one return per
1 output. The top insert point on the console will insert into the odd numbered output while the lower insert point
OUT will insert into the even numbered output.

IN
The output from the group is provided by a balanced male XLR socket. Again the top socket is used for the odd
2 numbered output while the lower socket is used for the even number output.

OUT
The direct input is connected to the group by a single balanced female XLR socket. Again the top socket is used for
the odd numbered group output while the lower socket is used for the even numbered group output.
group module

In total the Heritage 4000 has 24 group outputs, direct inputs and group inserts.

l
+21+
+18+
+15+
+12+
r
Group Module
+9+
+6+
+3+
0
-3-
l r The group module controls the signals sent to the assignable buss from the input channels.
-6-
-9-
-12-
+21+
-15-
+18+
-18-
-21-
-24- +15+ LED Bargraph Meter - The LED bargraph meter shows the peak POST-Fader group output.
-27-
-30-
-33-
+12+
-36-
+9+
green = stereo aux
+6+ Buss Mode Select - An important feature of the Heritage 4000 is the flexible buss routing. This is
+3+ achieved by using the buss mode select switch at the top of the group module strip.
red = mono aux 0
direct inputs
0 0 -3-
-6- The configuration of the buss is set by pressing the switch which will cycle the buss mode through
level
+10
level
+10 -9- three possible options:
PRE PRE
-12-
insert insert -15-
MUTE MUTE
-18- green = stereo aux Green - Stereo Aux
-21-
SOLO SOLO
-24- Red - Mono Aux
1 1
0 0
-27- Off - Sub-group Output
-30-
+6 +6

2 2 -33-
0 0
-36- The console will cycle through these three options indefinitely each time
the switch is pressed, . This allows the console to be reconfigured quickly
red = mono aux
+6 +6

3 3
0 0
and with ease.
+6 +6

4 0 4 0

5
+6

0 5
+6

0 Group Direct Inputs

+6 +6

6 0 6 0
direct inputs Level - The direct input level is continuously variable from off (-inf) to +10dB. The direct
0 0
+6 +6
input signal is summed with the group signal allowing for effects returns or the combination of
7 0 7 0
a number of consoles. A direct input is provided for both the odd and even numbered group.
+6 +6
+10 +10
8 0 8 0
Pre (insert) - When depressed, the direct input is applied to the group signal pre-insert.
level level
+6 +6
Otherwise, the direct signal is applies post-insert.
matrix PRE PRE
PRE PRE
fader
PRE
fader
PRE
insert insert Mute - When depressed, the direct input signal is muted from the group at all points.
insert insert
MUTE MUTE
9
vca
9
Solo - When depressed, the direct input signal is sent to the mono PFL and stereo AFL master
10 10
busses. The behaviour of the solo switch follows the solo behaviour of the rest of the console.
SOLO SOLO
to masters
If in solo ADD mode, all input channels will take priority over this solo.
ST ST

MONO MONO
c c

l
pan r l
pan r
MATRIX Sends
TALK TALK

INS INS
The H4000 has 8 mono matrix outputs. 8 matrix output sends are provided on each group
8 0 8 0
module for both the odd and even numbered outputs. The matrix send level is continuously
mute mute variable from off (-inf) to +6dB.
SAFE SAFE

SOLO split
+6 +6
Pre (fader) - When enabled, the matrix sends are sourced from the group signal PRE-fader.
matrix Otherwise, the signal is sent from the group module POST the group output fader.
solo solo
PRE PRE
Pre (insert) - When enabled, the matrix sends are sourced from the group signal before it is
10 fader fader
5 applied to the insert point (pre-insert). Otherwise, the signal is sourced after the insert return
0
PRE PRE (post-insert).
5 insert insert
10
20
30
40

group
MIDAS HS0011

Operators Manual- Page 25

 group outputs
Group Module
Send
1
Return

Send
2
Return
9 9 VCA Assign - Each of the groups may be assigned to either VCA 9 or VCA 10 control.
vca
IN
10 10
1
OUT

IN To Masters
2 to masters
ST ST ST - When depressed, the ST switch causes the group output to be routed to the master
OUT
stereo buss.
MONO MONO
Group module

Mono - When depressed, the MONO switch causes the group output to be routed to the
c c master mono buss.

PAN - When sent to the master stereo buss, the PAN control places the group signal within
l r l r l r the stereo image. The PAN pot has a constant power law (i.e. -3dB at the centre detent).
+21+
+18+
+15+
pan pan
+12+
+9+
+6+
+3+
0
-3-
-6-
-9-
-12-
-15-
-18-
-21-
-24-
-27- Talk - When depressed, signal from the monitor module (i.e. oscillator or microphone) are
-30-
TALK TALK
-33-
-36-
green = stereo aux
routed into the group signal.

red = mono aux

INS INS INS - When depressed, the insert point of the channel is enabled and the group insert return
direct inputs
0 0 is connected to the group signal path.
+10 +10
level level
PRE PRE
insert
MUTE
insert
MUTE
MUTE - When depressed, the mute for the group output is toggled. When lit, the group signal
SOLO SOLO
is muted at every point after the group insert send. This mute is also controllable from the
1 0 1 0
snapshot automation system.
mute mute
2
+6

0 2
+6

0
Safe - When depressed, the group mute is removed from the snapshot automation system
SAFE SAFE control.
+6 +6

3 0 3 0

SOLO split Solo (Split) - When placed in solo split mode, the AFL solos are changed from mono to
+6 +6

4 0 4 0
stereo.
+6 +6

5 0 5 0
SOLO - The solo switch sends the group to the stereo AFL and the mono PFL buss and obeys
the console’s standard solo behaviour. Buss outputs take lower priority than input channels
+6 +6
when the console is in solo ADD mode.
6 0 6 0
solo solo
+6 +6

7 0 7 0 Fader - The group output level is continuously variable from off (-inf) to +10dB for each
output.
+6 +6

8 0 8 0

+6 +6
matrix
PRE PRE
fader fader
PRE PRE
insert insert

9 9
vca
10 10

to masters
ST ST

MONO MONO
c c

l r l
pan pan r
TALK TALK

INS INS

mute mute
SAFE SAFE

SOLO split

solo solo
group
10
MIDAS HS0011
5
0
5
10
20
30
40

group
MIDAS HS0011

Operators Manual- Page 26

 Matrix Module

Operators Manual- Page 28

 matrix outputs
Send

Return

Send
1
Matrix Connections
2
Return
The Heritage 4000’s matrix outputs are located together on the rear of the console main body. Pairs of matrix
IN
outputs and their corresponding insert points and direct input are located together
1
The matrix insert point is provided by two balanced TRS quarter-inch jack sockets, one send and one return per
OUT
output. The top insert point on the console will insert into the odd numbered output while the lower insert point
will insert into the even numbered output.
IN

2 The output from the matrix is provided by a balanced male XLR socket. Again the top socket is used for the odd
numbered output while the lower socket is used for the even number output.
OUT

The direct input is connected to the matrix by a single balanced female XLR socket. The matrix direct inputs do not
matrix module

have level control and are connected to the matrix buss at unity. The intention being that matrix direct inputs
should be used for console linking or similar operation.

+21+
+18+
+15+
+12+
+9+
+6+
+3+
0
Matrix Module
-3-
-6-
-9-
-12-
-15-
-18- The HS0041 matrix module provides control for four (4) matrix outputs per module. Two modules +21+
-21-
-24-
+18+
-27-
-30- are required per console. +15+
-33-
-36- +12+
+9+
For this reason, the upper and lower parts of the matrix module are duplicated to allow control over +6+
all four matrix outputs per module. Ergo, we will consider only one pair of meters and controls per +3+
0
+21+
+18+
module. -3-
+15+
+12+ -6-
+9+
+6+
+3+
-9-
0
-3-
-12-
-6-
-9-
-12-
Meters - The LED bargraph meter monitors the peak -15-
-15- -18-
-18-
-21- (post-fader) output level from the matrix. -21-
-24-
-27-
-30- -24-
-33-
-36- -27-
-30-
masters
control masters -33-
VCA VCA control VCA - When depressed, the matrix output is assigned to VCA control from the -36-
TALK TALK
master fader so that the matrix output tracks changes in the master output.
INS INS
VCA VCA

Talk - When depressed, the matrix output is connected to the monitor module talk buss so that
TALK TALK
mute mute the talk mic, generator or external talk input may be routed to the matrix.
SAFE SAFE

SOLO split INS INS

INS - When depressed, the matrix insert is enabled and the insert return is routed to the matrix
signal path.
solo solo

Mute - The matrix mute switch toggles the matrix mute. When lit, the matrix is muted at all
10
5
mute mute points after the insert send. This mute switch can be controlled by the snapshot automation
0 system.
SAFE SAFE
5
10
Safe - The safe switch removes the matrix mute from automation system control.
20
SOLO split
30
40
Solo (split) - The solo split switch changes the matrix AFL solos from mono to stereo.
dB

3-4
Solo - The matrix solo switch sends the matrix signal to the AFL stereo and PFL mono busses
solo solo and obeys the normal console solo behaviour. In solo add mode, input channels will take priority
over matrix solos.
masters
control
Fader - The matrix fader allows the continuous adjustment of the matrix output levels from off
VCA VCA 10 (-inf) to +10dB.
TALK TALK

INS INS
5
0
mute mute
SAFE SAFE 5
SOLO split
10

solo solo
20
30
10
5 40
0
5
10
20 dB
30
40

dB
matrix
matrix MIDAS XL0041
MIDAS XL0041

Operators Manual- Page 29

 Master Output Module

Operators Manual- Page 30

 Master Outputs
MASTER
MASTER R M L
R M L

RETURN SEND RETURN SEND RETURN SEND

The Heritage 4000 main outputs are located on the rear of the console. Six (6) male XLR sockets conventionally
wired are provided - two (2) each for Left, Right and Mono (centre).

Six (6) balanced TRS quarter-inch jack sockets provide the send and return sockets for the master output inserts
(two (2) for each Left, Right and Mono).

Master Module
master module

l m-c r Meter - The output LED bargraph meters monitor the peak master stereo output level (post-
+21+ +21+ fader)
+18+ +18+
l m-c r +15+ +15+
+21+
+18+
+21+
+18+ +12+ +12+
+15+ +15+
+9+ +9+
+12+
+9+
+12+
+9+
+6+ +6+ s p
+6+
+3+
0
-3-
+6+
+3+
0
+3+ +3+
o Solo In Place - The solo in place switch sets the console to be in Solo In Place
l
-3-
-6-
-9-
-6-
-9- 0 0 l mode. In this mode, when a solo is made on the console all other channels are
-12-
-15-
-12-
-15-
-3- -3- o a
-18-
-21-
-18-
-21-
-6- c muted. Individual channels can be protected from this by enabling their
-24-
-27-
-24-
-27-
-6- i
-30-
-33-
-36-
-30-
-33-
-36-
-9-
-12-
-9-
-12- n e channel mute safes.
s p
o -15-
l l -15-
o a
i c -18- -18-
n e -21- -21-
direct0 inputs 0 -24- -24-
-27- -27-
+10 +10 -30- -30-
level level
PRE PRE
-33- -33-
insert insert -36- -36-
MUTE MUTE

SOLO SOLO

sum
left

right
1 0

Direct Inputs
+6

left 2 0

sum
right
+6
direct0 inputs 0 Direct Input - The direct input level is continuously variable from off (-inf) to +10dB. The left
3
and right direct inputs are summed into the left and right master signals (respectively) and
0
left
sum
right
+6 can be used for effects returns, console linking, etc... The master mono also has a direct
4 0

sum
left
+10 +10 input which is intended for console linking only.
right

5
+6
0
level level Pre (insert) - When depressed, the direct input is combined with the main signal before the
left
sum
right
PRE PRE insert points. Otherwise, the direct input is combined with the main signal after the insert
+6

left 6 0
insert insert point return.
sum
right
+6
MUTE MUTE Mute - When depressed, the direct input is muted from the master channel at all points.
left 7 0

sum
right Solo - When pressed, the direct input is sent to the stereo AFL and the mono PFL busses and
+6
SOLO SOLO
sum
left 8 0
obeys the console’s standard solo behaviour. When the console is in solo ADD mode, input
right
+6
channels take priority over this solo.
mono
PRE PRE
fader insert
0
Matrix Send - Each of the H4000’s eight mono matrix busses can be sent from the master
8 0 stereo and mono channels. The inner ring of the dual-concentric pot sends from the master
mono (centre)
+10
left
TALK mono and is continuously variable from off (-inf) to +6dB.
sum
INST
mute The outer ring of the dual-concentric pot outputs either from the left channel, right channel or
balance
SAFE right
+6 as a mono sum of the left and right channels (switch selectable). The amount sent to the
balance
mono matrix is then continuously variable from off (-inf) to +6dB.

l r PRE PRE Pre (fader) - When depressed, signal is routed to the matrix before the main fader.
TALK TALK
fader insert Otherwise the signal is routed POST-fader.
INS INS

Pre (insert) - When depressed, signal is routed to the matrix before the main insert points.
mute mute
Otherwise, the signal is routed to the POST-insert.
SAFE SAFE

VCA ST Mono Level - The level sent to the mono (centre) output is continuously variable from off (-
link to to mono
mono
0 inf) to +10dB.
Talk - The mono talk switch connects the mono output to the monitor module so that the
10 10
internal talk or oscillator may be routed to the mono output (see the monitor module section
+10 later in this manual).
5 5
0 0 mono (centre)
5
10
5
10
TALK INST - When depressed, the INST switch connects the mono insert point into the mono
20 20 master signal path.
30 30
40 40 INST
mute Safe - When depressed, the mono channel is removed from the mute snapshot automation.
dB dB
balance
SAFE
masters Mute - The mono mute switch toggles the mono mute. When lit, the mono signal is muted at
MIDAS XL021
all points after the mono insert send. This switch can be controlled by the snapshot
automation system.
Operators Manual- Page 31
 Master Module
Balance - The balance (Pan) control gives continuous and reciprocal adjustment of the
balance stereo left and right signals by +3dB to off. This allows fine adjustment of the left, right power
levels and imaging.

l r
Talk - The left/right talk switch connects the left/right output to the monitor module so that
TALK TALK
the internal talk or oscillator may be routed to the output (see the monitor module section
later in this manual).
INS INS
INS - The INS switch connects the left/right insert return to the left/right signal path.
master module

l m-c r
+21+ +21+
+18+ +18+
+15+
+12+
+9+
+15+
+12+
+9+
Mute - The left/right mute switches toggle the left/right mute. When lit, the left/right signal
+6+ +6+
+3+
0
-3-
+3+
0
-3-
is muted at all points after the insert send. These mute switches can be controlled by the
-6- -6-
snapshot automation system.
-9-
-12-
-15-
-18-
-9-
-12-
-15-
-18-
mute mute
-21- -21-
-24- -24-
-27-
-30-
-27-
-30-
SAFE SAFE VCA (link to mono) - When enabled, the mono signal is VCA controlled by the stereo
-33- -33-

s
o
-36- -36-

p
master fader so that the mono output tracks changes in stereo output fader.
l l
o
i
a
c VCA ST
n e
link to to mono ST (to mono) - When depressed, a mono sum of the stereo signal (pre-insert) is sent to the
direct0 inputs 0
mono main mono buss.
+10 +10
level level
PRE PRE
insert insert
MUTE MUTE

SOLO SOLO

left 1 0

sum
right
+6

left 2 0
Fader - The master fader adjusts the level of the master output and is continuously variable
sum 10 10 from off (-inf) to +10dB
right
+6
3 0

sum
left
5 5
right
+6

sum
left 4 0
0 0
right
+6

sum
left 5 0
5 5
right

left 6
+6
0 10 10
sum
right

7
+6
0
20 20
left
sum
right
+6
30 30
left 8 0

sum 40 40
right
+6
mono
PRE PRE
fader insert
0

dB dB
+10
mono (centre)
TALK

INST
mute
masters
balance
SAFE

MIDAS XL021
balance

l r
TALK TALK

INS INS

mute mute
SAFE SAFE

VCA ST
link to to mono
mono

10 10
5 5
0 0
5 5
10 10
20 20
30 30
40 40

dB dB

masters
MIDAS XL021

Operators Manual- Page 32

 Monitor Module

Operators Manual- Page 34

 Monitor Connections
The Heritage 4000 local outputs are located on the rear of the console. Six male XLR sockets conventionally wired
are provided - two (2) each for Left, Right and Mono (centre). The local ouputs are labelled ‘Local Ouputs’ and ‘B
Speaker’.

Six (6) balanced TRS quarter-inch jack sockets provide the send and return sockets for the local output inserts
(two (2) for each Left, Right and Mono).

LOCAL B SPEAKER
R M L R M L
MONITOR
R M L

RETURN SEND RETURN SEND RETURN SEND

monitor module

Monitor Module
+21+
+18+
+21+
+18+ +15+ Meters - The bargraph LED meters show the peak levels of the left and right monitor paths.
+15+
+12+
+12+
+9+ +9+
+6+
+3+
+6+
0
-3-
+3+
-6- 0
-9-
-12- -3-
-15-
-18-
-6-
-21- -9-
-24-
-27- -12-
-30- -15-
-33-
-36- -18-
300 1k
-21-
-24-
1kHz
-27-
100 10k -30-
signal freq -33-
generator 0 -36-
PINK
+10
level

Signal Generator
generator generator
internal external

TALK to all
internal 300 1k 1kHz - The 1kHz switch overrides the variable frequency control, replacing it with a constant
talk mic 1kHz sine tone.
1kHz
100 10k Freq - The freq control gives continuous adjustment of the oscillator signal frequency from
+40 0
signal freq 50Hz to 5kHz.
+20 +60 +10
generator 0
mic gain level

Pink - The pink switch overrides the oscillator and replaces it with a pink noise generator.
PINK
talk talk
internal external
meter
+10 Level - The generator level control gives continuous adjustment of the signal generator peak
PRE change level output from off (-inf) to +10dB.
over
0
TALK
input

MONO level
+10
Generator to Internal - This switch connects the signal generator to the console’s internal talk
masters 0
all and talk select busses.
SOLO
level
+10 generator generator
mono source
mono output
internal external Generator to External - This switch connects the signal generator to the external output talk
C/O output ‘b’
mute XLR.

+10
Talk
MUTE phones

to all
TALK
internal Talk to All - When enabled, this switch overrides all other talk buss switches and routes the talk
ST EXT

MONO
stereo source
SOLO mic or generator to all outputs.
stereo output
C/O output ‘b’
talk mic
Talk Mic - The talk mic socket is a conventionally wired balanced microphone socket accepting
O
left only
MONO
sum 150 ohm microphone signals.
ON PAD
l-r reverse -20dB
L R
Mic Gain - The gain of the talk mic is continuously variable from +20dB to +60dB. Note: The
talk mic is operated in conjunction with a peak limiter which is factory set at +10dBu.
mute mute +40 0
SOLO add mode

pre fade
Level - The level of the talk mic is continuously variable from off (-inf) to +10dB.
SOLO (pfl)

+20 +60 +10

mic gain level Talk to Internal - This switch connects the talk mic signal to the console’s internal talk all and
solo clear talk select busses. Note: Local outputs are attenuated by 20dB when this switch is activated to
help prevent feedback.
10 10
5 5
0 0
talk talk Talk to External - This switch connects the talk mic signal to the external output talk XLR.
5 5
10 10
internal external
20 20 Pre (Meter Change Over) - In normal operation, input meters are pre-fade (but post eq and
30 30
meter post insert) and output and buss meters are post-fade. When the Meter Change Over switch is
40 40
PRE change enabled, the metering is changed to monitor the input amplifier level and the buss driver level.
dB dB
over i.e. the input meters become pre-fade, pre-eq and pre-insert. The buss and output meters
monitor become pre-fade.
MIDAS XL031

Note: the monitor meter is the only meter on the console not changed.

Operators Manual- Page 35

 Monitor Module
Mono source
TALK
0 Talk (input) - The talk input switch connects the external talk input to the local mono monitor
input
output.
+10
MONO level Level - The level of the external talk inputs is continuously variable from off (-inf) to +10dB.
masters 0
Mono (masters) - The Mono (masters) switch routes the post fader mono master mix to the
SOLO local mono monitor output.
+10
level
mono source Solo - The Solo switch routes solo signals to the local output whenever a solo is active on the
console. This overrides any signals sent from the mono buss but does not override talk inputs.
monitor module

Mono output
+21+
+18+
+15+
+12+
mono output C/O (output ‘b’) - The mono output ‘b’ C/O switch disconnects the mono local monitor output
+9+
+6+
+3+
0 C/O output ‘b’ from the main ‘a’ output and reconnects it to the secondary ‘b’ output.
-3-
-6-
-9-
-12-
mute
-15-
-18-
-21- Mute - The mono output mute switch toggles the mono output mute. When lit, the local mono
-24-
-27-
-30-
-33-
monitor output is muted.
-36-

300 1k
1kHz
100 10k
signal freq
generator

Phones
0
PINK
+10
level

generator generator
0 Phones - The headphone output level control gives continuous adjustment of the headphone
internal external
level from off (-inf) to +10dB.
TALK to all
internal
talk mic
+10 Mute - When depressed, the headphone output is muted.
MUTE phones
+40 0

+20 +60 +10

mic gain level

talk talk
Stereo source
internal external
meter
PRE change
over ST - When depressed, the post fader master stereo ouputs are routed to the local stereo
0
TALK
input monitor outputs.
+10
MONO level
masters 0
ST EXT EXT - When depressed, the external stereo input (2 track, etc...) is routed to the stereo local
SOLO

mono source
level
+10
monitor outputs.
mono output MONO SOLO
C/O output ‘b’
mute stereo source MONO - The mono master switch routes the post fader master mono buss to the stereo local
monitor outputs.
0

SOLO - The solo switch routes the solo buss signal to the stereo local monitor outputs when
+10

MUTE phones ever a solo is in place on the console overriding signals sent from the stereo master, mono
ST EXT
master or any external input.
MONO SOLO
stereo source
stereo output
C/O output ‘b’

O
left only
MONO
sum
Stereo output
ON PAD
l-r reverse -20dB
L R
stereo output C/O (output ‘b’) - The stereo output C/O switch disconnects the local stereo ‘a’ outputs and
connects the secondary ‘b’ local stereo monitor outputs.
C/O output ‘b’
mute mute
SOLO add mode
Ø (left only) - The stereo output left only phase switch causes the phase of the left output of
pre fade O MONO
SOLO (pfl)
sum
the local stereo monitors to be inverted.
left only
ON PAD
solo clear Mono (sum) - The mono sum switch adds the left and right monitor signals with a 4.5dB
l-r reverse -20dB
summing loss.
10 10 L R
5 5
0 0
ON (l-r reverse) - When depressed, the left hand monitor signal is routed to the right hand
5 5 outputs and the right hand monitor signal is routed to the left hand output.
10 10
20 20
30 30 PAD (-20dB) - When depressed, the three local monitor outputs are attenuated bu 20dB. 20dB
40 40
attenuation is also provided when talk inputs are enabled to help prevent feedback.
dB dB

monitor
L - The LEFT switch routes the left hand signal to both left and right local monitor outputs.
MIDAS XL031

R - The RIGHT switch routes the right hand signal to both left and right local monitor outputs.

Operators Manual- Page 36

 Monitor Module
Mute (left) - toggles the mute on the left hand side of the local monitor outputs.

Mute (right) - toggles the mute on the right hand side of the local monitor outputs.

mute mute Solo (add mode) - The solo add mode switch changes the behaviour of the consoles solo
SOLO add mode operation. See the panel below for detailed information)

pre fade Solo (pre fade PFL) - The solo PFL switch sends the mono PFL bus signals to the headphones
SOLO (pfl)
and local monitor outputs in place of the stereo AFL solo buss signals.

Solo Clear - The solo clear button has two functions:-

monitor module

solo clear 1 - The solo clear button will light to indicate that a solo is in place on the console.

2 - Pressing the solo clear button while lit will clear any active solos on the desk.
10 10
+21+
+18+
+15+
Fader - The monitor fader allows continuous adjustment of all three local monitor output
+12+
+9+
+6+ 5 5 signals from off (-inf) to +10dB.
+3+
0
-3-
-6-
-9-
-12-
0 0
-15-
-18-
-21-
-24-
-27-
-30-
5 5
-33-
-36-

300 1k
10 10
1kHz
100 10k 20 20
signal freq
generator

PINK
0
30 30
+10
level 40 40

generator generator
internal external
dB dB
TALK to all
internal
talk mic
monitor
MIDAS XL031
+40 0

+20 +60 +10

mic gain level

talk talk
internal external
meter
Solo Behaviour
PRE change
over
0
TALK
input Normal Solo Function
+10
MONO level
masters 0

SOLO
When a channel solo is activated, the signal is sent to the PFL mono and the AFL stereo busses.
+10
level
mono source
mono output
C/O output ‘b’
If the switch is pressed for a short time, it will latch the solo on or off. The solo system is, by default, auto
mute cancelling. This means that when a solo is pressed, any previous solos will be released. However, if a number of
solos are pressed within a short period (i.e. almost at the same time) of each other, a number of solos can be
0
operated simultaneously.
+10

MUTE phones If a solo switch is pressed for more than one second, the solo latch is disabled and the solo is cancelled as soon as
ST EXT the solo switch is released.
MONO SOLO
stereo source
stereo output
Solo Add Mode
C/O output ‘b’

O
left only
MONO
sum
When in solo add mode (solo add mode switch on the monitor module) the auto cancelling solo function is disabled
ON PAD
l-r reverse -20dB
allowing multiple solos to be activated. There is a priority order for the solo system in this mode which is:-
L R

(High) Input Solos

mute mute
SOLO add mode
VCA Solos
pre fade
SOLO (pfl) (Low) Direct In Solos
Group Solos
solo clear Output Solos

10 10
In the case of a high priority solo being placed after lower priority solo, the higher priority solo will be sent to the
5 5
0 0
PFL and AFL busses and the lower priority solo will not. Once the higher priority solo is removed, the lower priority
5 5 solo will then be sent to the AFL and PFL busses.
10 10
20 20
30 30 Solo Clear
40 40

dB dB
The Solo Clear switch on the monitor module will illuminate to show that a solo is in place on the console.
monitor
MIDAS XL031
Pressing the Solo Clear switch on the monitor module will release all active solos on the console.

Operators Manual- Page 37

 Console Automation

Operators Manual- Page 38

 Automation
VCA and Mute assignment
LOCK

assign mode To make assignments to any of the Heritage 4000’s VCA or automutes, the system must
keys switches first be unlocked by pressing the lock key (mode switches).

lock Pressing the lock key will toggle the console lock between off and on. When the switch is
illuminated, changes are not permitted.

vca After 90 seconds of inactivity, the system will automatically return to a locked state.
1
VCA
2

mute
3 To make assignments to the VCA, VCA mode must be selected by pressing the VCA key. This
4
may only be done when the console is unlocked. VCA mode is enabled when the VCA key is
illuminated.
5 fader
6 MUTE

7
To make assignments to the Automute system, Mute mode must be selected by pressing
virtual fader
8 the mute key. Again, the system must be unlocked to do this. Mute mode is enabled when
recall mode
the Mute key is illuminated.
9

10 ASSIGN KEYS

a b To make a channel assignment to a VCA or automute, the console must be unlocked and the
mode must be selected. Then the desired VCA (or automute) can be selected using the
assign keys.

A short press of the assign key will select the key and clear all previous selections. A long press, however, will
allow multiple selections to be made. Pressing an assign key that is illuminated (selected) will cause it to be de-
selected and the internal LED will be extinguished.

To assign the VCA or Mute to an input channel, press the channel SET key.

A long press on the channel SET key will clear any previous assignments and make new assignments according to
the assign keys.

A short press will toggle the channels existing assigns with the selected assign keys.

i.e.
If a channel has a mute assignment to 1,2 & 3
In Mute mode, Assign keys 2 & 4 are selected
The channels SET key is pressed

Result
Mute 1, 3 & 4 are assigned.

Clear Mode

Mute and VCA assignments may be cleared at the same time. Pressing the VCA and Mute mode switches for
more than half a second will select both VCA and Mute modes. Ensuring all the assign keys are off, long-
press the channel SET key for the channel to be erased. This will clear all Mute and VCA assignments for the
channel.

Similarly, to clear only the Mute or VCA assigns, repeat the steps above except select only VCA or Mute
mode.

Operators Manual- Page 39

 Automation
MUTE recall
To recall an automute, press the automute recall switch. Any channel that is assigned to that
automute will be muted/unmuted.
a 1
If a channel is assigned to more than one automute, it’s mute will not be released until all
u 2 automute switches to which that channel are assigned are released.

t 3
o 4
Dot Notation
The dot in the upper left hand corner of the numeric
5 display indicates that the scene number indicated
is the scene in current usage.
m 6
u 7
t 8
act scene
e 9
The dot in the lower right hand corner of the
s 10 numeric display indicates that the scene number
indicated hold scene data (i.e. is not empty).

Backup
virtual fader The Heritage 4000 automation and assignment system uses an on-board micro card to control
recall mode the function of the console.

In fact, the H4000 has a redundant micro card should a fault occur on the other. For reliability,
changes to the console are stored to both micro cards so that the information held on each is
identical.

a b Beneath the ‘virtual fader recall mode’ switch on the mode switches console are two indicator
LEDs and a switch.

The two LEDs indicate which of the two micro cards are currently in operation or that there is a fault:-

Green LED - Card Active

No LED - Card inactive
Red LED - Card is damaged or not responding - Call an engineer as soon as possible

The switch can be used to switch between the two micro cards should one fail.

This is a major function. During the transition,

! there will be no control over faders and output

levels WILL change. Treat the A/B switch with
the same caution as power up/down.

Operators Manual- Page 40

 Automation
Snapshot automation
Snapshots of the consoles automation controls can be stored as SCENES or as ACTS.
automation Essentially, there is no difference between an act and a scene memory except the way in
system which they are numbered.
store midi system
As in a play or script, scenes are subsets within an act.

STORE
insert delete copy
Pressing the store key will store the current console assignments and settings to the
snapshot memory (as indicated on the numeric display).

check cancel confirm NOTE: To prevent overwriting snapshot memories, the console can be locked. See later
in this section.

INSERT

The insert key allows the operator to insert a snapshot memory (at the number
indicated on the numeric display). All snapshot memories in the same scene after this
point will be re-numbered (incremented by one).
act scene
act/scene COPY
c/o down up

The copy function allows the snapshot (indicated on the numeric display) to be copied to
a temporary memory location. This can then be stored or inserted in the normal manner
OR a fast scene number can be assigned to the scene by pressing the desired fast scene
last now next
key.

DELETE

The delete key will delete the contents of the scene indicated on the numeric display.

CHECK

The check key can be used to preview the contents of a scene memory without actually
recalling the memory.

Mute settings will be shown in the SAFE switches so that the actual channel mutes are
not obscured. Whilst in this mode, the act/scene changeover and the up/down switches
can be used to step through the memories on the console.

automation
system
store midi system

The lower 6 keys are used to navigate or load the scene and act memories.
insert delete copy
Act/Scene C/O
The act/scene changeover key switches between act or scene mode. The current mode
is indicated under the numeric display.
check cancel confirm
Up/Down
The up and down keys allow the user to scroll through the scene or act memories on the
console and navigate through menus. The numeric display shows the number of the
memory but note that using the up/down keys does not load the memory.

Please note the function of ‘dots’ on the numeric display (as shown on page38).

act scene Last/Now/Next

act/scene The last, now and next allow quick the recall of memories.
c/o down up
Now - Recalls the snapshot memory indicated on the numerical display.

Last - Recalls the snapshot memory that numerically precedes the snapshot memory
last now next that is currently active or stored.

Next - Recalls the snapshot memory that numerically proceeds the snapshot memory
that is currently active or stored.

Operators Manual- Page 41

 Automation
Fader automation system
assign mode Fader
keys switches
The fader switch enables the fader assignment/display mode for the fader tray LED’s.
lock
Virtual Fader Recall Mode

The virtual fader recall mode switch enables the operation of the virtual fader system.
vca
1
Real Fader Mode
2

3
mute In real fader mode, all of the internal VCA systems are controlled by the real (physical)
faders. The automation system can assist in the control of each real fader by prompting the
4 user using the 11 LEDs next to each fader.
5 fader
The fader positions stored in a snapshot memory can be viewed by recalling the scene and
6
pressing the virtual fader recall mode switch. The LEDs will flash to indicate the stored
7 position of the fader. As the fader is moved towards the position shown, the LED will stay
virtual fader alight continuously until the fader is in the correct position. If the fader is just under the
8
recall mode stored position, a LED will light above the fader position. If the fader is just over the stored
9 position, a LED will light below the fader position until the fader is positioned to the correct
level.
10

a b Virtual Fader Mode

In virtual fader mode, the console automation takes control of all the internal VCA systems
and displays a representation of the virtual fader position using the 11 LEDs next to the real
fader. Additional adjustment trims can be added if necessary.

If the console is unlocked to RECALL mode or higher, scenes may be recalled but not stored
or overstored. If fader adjustments are required, the fader must be ‘picked up’ by taking it
to the 0dB level. Fader adjustments then remain active for all subsequent scenes recalled
(unless the adjustment is cleared).

If the console is unlocked to STORE mode or higher, scenes may be recalled, stored and
overstored. When storing a snapshot, the virtual fader level is always stored, regardless of
the real fader. If fader adjustments are required, the fader must be ‘picked up’ by taking it
to the current virtual fader position. When a new scene is recalled, the fader adjustment is
removed forcing the user to ‘pick up’ the fader again before making further adjustments.

Access levels
The Heritage 4000’s automation system can be locked so that it’s memories cannot be
system changed, erased or overwritten by mistake.

This is done in the SYSTEM menu (more explanation of this later in this section) under the
LOCK section.

Four (4) options are available which will limit the amount of access granted to users of the
console.

TOTaL
All automation and assignment functions disabled

ReCALl
Only recall and assignment functions are available

STORe
Scene storage/editing, recall and assignment are available

SYSTem
All functions are available

This protection is designed as a protection against accidental rather than security

protection as it is not password protected.

Operators Manual- Page 42

 Automation
Virtual fader recall vs store
The differences between virtual fader recall and virtual fader store modes are discussed in more detail:-

Recall Mode Store Mode

Recall a new scene and leds will indicate the current Recall a new scene and leds will indicate the current
virtual fader positions. Note that that these leds virtual fader positions. Note that that these leds
always indicate the actual fader setting that is always indicate the actual fader setting that is
controlling the audio. controlling the audio.

To adjust a virtual fader move the real fader to To adjust a virtual fader move the real fader to the
0dB. When the fader is at 0dB the red set led will same position as the virtual fader. When the fader
illuminate indicating that the virtual fader is ready has reached this point the red set led will illuminate
for adjustment. Moving the fader will add an offset indicating that the virtual fader is now “tracking”
to the original stored scene. The amount of offset is the real fader. Moving the real fader will there for
clearly indicated by the physical position of the adjust the position of the virtual fader and this is
fader above or below the 0dB line. The virtual fader indicated by changes in the virtual fader leds.
position can also be viewed via the leds (plus any
adjustment offsets).

If a new scene is recalled the fader adjustments If a new scene is recalled the fader adjustments will
made will be added to the new scene also. The all be cleared and the set leds will extinguish to
adjustment can be removed by returning the fader indicate that faders are not “tracking” even if their
to the 0dB position or by “clearing” the fader to - position suggests that they are (because they are
infin as detailed below. not set to -infin).

In order to make the virtual fader leds as clear to In order to make the virtual fader leds as clear to
view as possible it might be desirable to “clear” all view as possible it might be desirable to “clear” all
non adjusted faders to -infin. To do this press the non adjusted faders to -infin. To do this press the
virtual fader switch and then move any fader that is virtual fader switch and then move any fader that is
to be “cleared” to the -infin position. Press the to be “cleared” to the -infin position. Press the
virtual fader switch again and the faders will be virtual fader switch again and the faders will be
ready to be active again. Only faders which do not ready to be active again. Any virtual fader level
need adjustment should be cleared as any virtual changes made prior to clearing will still be active
fader level changes made prior to clearing will be but they will be cleared at the next scene recall.
removed at the next scene recall.

Operators Manual- Page 43

 Automation
It is possible to “pick up” all the faders and then set If faders are not cleared prior to recalling a new
them to 0dB if adjustment is not required. There is scene it may be advisable to clear them
no need to “clear” them. This is a user preference. immediately afterwards to avoid confusion.

Any virtual fader can be isolated from further scene Any virtual fader can be isolated from further scene
recall by pressing the AUTOmation SAFE switch. recall by pressing the AUTOmation SAFE switch.
After the switch is pressed it will also be possible to After the switch is pressed it will also be possible to
“pick up” the virtual fader at the recalled position “pick up” the virtual fader at the recalled position
and adjust it using the real fader (exactly the same and adjust it using the real fader. Any subsequent
as for store mode). Any subsequent scene recall scene recall will have no effect on the virtual fader
will have no effect on the virtual fader position. position.

To regain virtual fader control switch the To regain virtual fader control switch the
AUTOmation SAFE switch off and then recall the AUTOmation SAFE switch off and then recall the
current (or next required) scene. Virtual fader current (or next required) scene. Virtual fader
control will resume as the scene is recalled. The control will resume as the scene is recalled. The
fader will not be “picked up” and can be moved to - fader will not be “picked up” and can be moved to -
infin if desired as long as it does not pass through infin if desired as long as it does not pass through
0dB. If it does pass through 0dB it will “pick up” in the virtual fader position. If it does it will “pick up”
the normal way. in the normal way.

Any input channel virtual fader can be totally Any input channel virtual fader can be totally
isolated by pressing the FADER SAFE switch. At this isolated by pressing the FADER SAFE switch. At this
point the virtual fader will "snap" to match the real point the virtual fader will "snap" to match the real
fader position and any master VCA and automation fader position and any master VCA and automation
control will be removed. To regain virtual fader control will be removed. To regain virtual fader
control switch the fader safe off and recall a new control switch the fader safe off and recall a new
scene. The real fader can then be cleared to -infin scene. The real fader can then be cleared to -infin
in the normal way. in the normal way.

It is not possible to store a scene in this mode. The When storing a scene the information loaded into
main reason this is not allowed is because multiple the scene memory will always be as displayed by
overstores of faders which have adjustments made the leds. This still applies if a fader is isolated by
would result in incremental virtual fader position the fader safe or automation safe switches.
changes which in most cases would not be desired.

Using fader modes

The Heritage 4000 has a flexible fader mode system which, used properly, will allow the user to benefit from the
full functionality of the console. There is no right or wrong way to use the fader modes as this will be largely
dictated by the environment in which the console is being used and the application.

It is worth spending some time to familiarise yourself with the fader modes and automation systems so that they
may be tailored to your specific needs, but as a guide:-

REAL FADER STORE and RECALL modes

Used for the initial setup of a show and during early rehearsals. Also used for situations where no prior setup has
been possible. Fader positions stored to the automation memory are as per the real faders so great care must be
taken to set them correctly prior to overstoring any adjustments.

VIRTUAL FADER STORE mode

Used for later rehearsals and for shows where there is a large degree of change from night to night due to venue
conditions or ad lib’s etc. Each scene recalled is as it was stored but may need adjustment to suit the prevailing
conditions. Adjustments are clear and fast to implement with the real fader taking over from the virtual fader as
required. Overstoring is easily possible so as to fine tune the data in the automation memory.

VIRTUAL FADER RECALL mode

Used for events and shows that are well rehearsed and predictable. Each scene recalled is as it was stored plus an
offset adjustment from the real fader if required. Any changes that are made are active for all subsequent scenes
until such a time as they are removed by the operator. Overstoring is not possible.

Operators Manual- Page 44

 Setup menus system
To make changes to the console’s configuration or to
invoke memory dumps etc... All automation and assignment functions are disabled
A menu map is provided below. LOCK TOTL
Only recall and assignment functions are available
RCAL
This symbol is used to denote that the confirm
Recall, Assignment and Store functions are available
key must be pressed to continue. STOR
All functions available
automation
SYST
system To enter the menu system, press
store midi system either the MIDI or SYSTEM key to DATA LOAD SERIAL
access the relevant menu.
MIDI
insert delete copy The up/down keys are used to SAVE SERIAL
navigate the menu system and
cancel/confirm to make or lose MIDI
check cancel confirm changes.
AUTO ENAB YES
The numeric display will show the
menu options and the values NO
which have been assigned.
SET_P CHNN NOFF
act scene SWGF
act/scene
c/o down up
C_CH
N_ON
last now next No consoles connected

Operators Manual- Page 45

CONS NONE
Console configured as a SLAVE console
SLAVE
Console configured as a MASTER console
MAST
midi
This option clears all scene memories on the console to give a clean
out1 midi out menus share
CLR starting point for programming
the same submenus
out2
out3
out4 CLR
N_ON chxx (midi channel) xxxx (note) VXxxx (note velocity)
N_OFF chxx (midi channel) xxxx (note) VXxxx (note velocity)
PROG chxx (midi channel) Pxxx (Program Change Number)
Automation
 Automation & Linking
Walkthrough

Operators Manual- Page 46

 Automation and Linking
Unlocking the Console:
To unlock the mixing console press the SYSTEM menu button. Using the up/down keys scroll through the
menu until LOCK is displayed, press CONFIRM. Using the up/down keys scroll through the menu until the
desired level of unlock is displayed on the screen, then press the confirm button.

Locking the Console:

To lock the mixing console press the SYSTEM menu button. Using the up/down keys scroll through the menu
until LOCK is displayed, press CONFIRM. Using the up/down keys scroll through the menu until TOTL is
displayed on the screen, then press the CONFIRM button.

The LOCK button located on the MODE SWITCHES disables the Assign keys, Mode switches and Set switches
on the Centre section and input faders.

Storing a Scene:
Setting up a scene, Assigning VCA, Mutes, Faders etc.

Assigning VCAs:
Ensure that the lock button is not illuminated on the mode switches (if it is, press the button to extinguish
the LED).

!Press the VCA mode button so that it is illuminated. This has now selected the VCA mode on the input
modules.

!Using the ASSIGN KEY select which master VCA you wish to assign to a particular input module (1-10).
Quickly pressing a key will clear all other buttons enabled so only the one selected is illuminated, push
and holding the key down for 0.25 seconds will not disable other buttons previously enabled.

!On the input channels you wish to assign to the master VCA(s) selected press the SET Button, the
relevant LED(s) on the input channel will illuminate. If the SET button is pressed quickly the VCA's
selected on the assign keys will toggle those already selected on the channel. If the SET button is
pressed and held for a short time then any VCA's already selected on that channel will be cleared and
replaced with those selected by the assign key.

Assigning Mutes:
!Ensure that the lock button is not illuminated on the mode switches. If it is, press the button to
extinguish the LED.

!Press the MUTE mode button so that it is illuminated. This has now selected the mute mode on the
input modules.

!Using the ASSIGN KEY select which Automutes you wish to assign to a particular input module (1-10).
Quickly pressing a key will clear all other keys enabled so only the one selected is illuminated, push
and holding the key down for 0.25 seconds will not disable other buttons previously enabled.

!On the input channels you wish to assign to the Automutes selected, press the channel SET Button. The
relevant LED(s) on the input channel will illuminate. If the SET button is pressed quickly the Automutes
selected on the assign keys will toggle those already selected on the channel. If the SET button is
pressed and held for a short time then any Automutes already selected on that channel will be cleared
and replaced with those selected by the assign key.

Fader Position:
!Ensure the Virtual Fader recall mode button is not illuminated and the faders are in normal mode, if this
is enabled the new fader position will not be stored.

!Move the faders to the desired position. The only other automated buttons on the console to be set are
the Input Mutes, Master VCA Mutes, Group Mutes, Matrix Mutes and Master Mutes.

Selecting a memory number and storing the memory:

!The numbers in the display can be altered as follows. Select either Act or Scene using the ACT/SCENE
C/O switch. You will see either act or scene illuminate below the display.

!The digits can then be altered between 00-99 using the UP and DOWN keys. This function is looping so
if you are on 00 you can go directly to 99 by scrolling down.

!To store a scene press STORE. If the scene is new then it will be stored and the screen will display
done.

Operators Manual- Page 47

 Automation and Linking
!If the scene already exists then the display will read over_str and you will need to press the confirm
button. The screen will then read done.

Editing Midi (Program Change):

!Pressing the MIDI button places you in the MIDI menu.

!Using the UP and DOWN buttons scroll through OUT01 to 04 until the required message is reached.
(On the Heritage there are a maximum of 4 MIDI out messages that can be sent per recalled scene).
Press CONFIRM.

!Using the UP and DOWN buttons scroll through the menu until the screen reads PROG. Press the
CONFIRM button

!The display will read CH00, using the UP and DOWN keys a channel between 01 to 16 can be selected.
Press CONFIRM.

!The display will read P000. Using the UP and DOWN keys, a program change between 00 and 127 can
be selected. Press confirm and you will be dropped back to the first level of the menu. When the
desired messages have been edited press the MIDI button again to drop out of the menu.

!To then store the MIDI information with the scene the STORE button must be pressed followed by
CONFIRM

Assignment of Program changes to a Scene:

!Once a scene has been stored press the STORE button so that the display reads OVER/STOR.
!Press the UP key until the display reads PRCH then press CONFIRM.
!Using the UP or DOWN key chose the required MIDI program change you wish the scene to be recalled
by. You have the choices NONE, Program Changes 000-127.

Inserting Scenes:

!Once you have created the scene you wish to insert edit the act/scene number display using the
ACT/SCENE, UP and DOWN buttons until the desired position is displayed.

!Press the INSERT key. The display will then read done. The original scene and any scene preceding it
will then be incremented by one position.

NB The INSERT button will only be illuminated if a scene exists where you wish to place the scene,
otherwise STORE may be used as normal.

Copying Scenes:

!Recall the scene you wish to copy by selecting the scene number and pressing the NOW button.
!Press the COPY button.
!The MIDI Button will be illuminated as default which indicates that the midi out messages will also be
copied with the scene. If you do not wish the midi out information to be copied to the new scene press
the MIDI button so that the light is extinguished.

!The act/scene numbers can now be scrolled through using the ACT/SCENE,UP and DOWN buttons until
the desired position is reached, then press the STORE button.

Editing the Cross fade Value of a Scene:

! Recall the scene you wish to copy by selecting the scene number and pressing the NOW button.

! Press the STORE button, and using the UP and DOWN buttons scroll through the display until XFADE is
shown, press CONFIRM.

! The current cross fade speed stored with the screen will be displayed. Using the UP and DOWN buttons
select the required cross fade speed.

! Press CONFIRM to store this new speed with the scene.

! NB When a scene with a cross fade speed is being recalled the display will flash for the specified cross
fade time

Operators Manual- Page 48

 Automation and Linking
Halting a Cross fade:

! To Pause a crossfade during recall press the CANCEL button. The crossfade can be resumed again by
pressing the CONFIRM button.

Bypassing a Cross fade:

! A crossfade can be bypassed by pressing the confirm button as the crossfade is being applied, this will
immediately take you to the finished scene.

Previewing a Scene:

To preview a scene without affecting your mix, select the scene number on the display using the ACT/SCENE,
UP and DOWN buttons. Once the desired number is displayed, press the CHECK button. The automated
switch configuration and fader positions stored for that scene can be viewed without changing the actual
settings.

The Automute Safe buttons on the inputs will display the input mute state.

The master VCA mutes will display the Master VCA mute setting with out altering the Audio.

The Group and Matrix Mute Safe buttons will display the checked scene mute status.

The display will also scroll through the other stored scene information, telling you if midi in is enabled and
the channel assigned. The MIDI out information stored with the scene, cross fade value and program change
number the scene will respond to.

Pressing the CHECK button will drop you back into normal mode.

Recalling Scenes:

There are 3 methods by which scenes can be recalled:

! Stepping through existing scenes using the LAST and NEXT buttons. This steps through the scenes in
numerical order.

! Select the act/scene number using the ACT/SCENE, UP and DOWN buttons, when the correct scene
number is displayed in the screen press the NOW button and the scene will be recalled.

! A scene can be assigned to a fast scene key (1-10). In this instance the scene is recalled by just pushing
the fast scene key.

Assigning A Scene To A Fast Scene Key:

! Recall the scene you wish to assign to a FAST SCENE KEY.

! Press the COPY button, followed by the FAST SCENE KEY button you wish to assign that ACT/SCENE to.
The screen will then display done.

Deleting a Scene From A Fast Key:

! Press and hold down the FAST KEY you want to delete.

! When the YES and NO button start to flash you can now select either YES or NO to delete or cancel
deletion of the FAST KEY.

Deleting A Scene:

! Recall the scene you wish to delete, Or display the scene number on the screen using the ACT/SCENE,
UP and DOWN buttons. When this is done press the DELETE button.

! You will be asked to confirm this. Press the CONFIRM button the screen will then say done when the
scene is deleted.

Operators Manual- Page 49

 Automation and Linking
Midi In Assignment:
Setting The Console to Respond to MIDI Changes:

The console settings can be accessed via the “AUTO” submenu after pressing the “System” button. This
submenu option is only available when in “SYS” Lock-Mode.

After selecting “AUTO”, there are two further sub-menus:

1. ENAB -(ENABle), this is the master switch for this function and can be set to “YES” or “NO”.
Toggling this switch will not delete the other setup parameters for this function.

2. SETP - (SETuP), this is where we set the actual midi parameters that are used for this function.
These parameters define the midi command that the console will respond to, and decode the required
act/scene number. The two parameters that can be set are as follows:

a. The midi command, this can be either of the following midi commands:

N ON - (Note ON)
NOFF - (Note OFF)
SNGP - (Song Pointer)
PRCH - (Program Change)

b. The MIDI channel, this covers the full 16 channels possible, the display shows CH 01 - CH 16.

Notes:
1. To respond to an external midi request to change the act/scene number, the following conditions must be
true:

a. The “AUTO - ENAB” menu setting must be set to “YES”.

b. The console must not be in “TOTL” (TOTaL) Lock-Mode.

c. The console use must not be performing any menu operations.

Setting Up a Midi Device:

To cause the console to automatically change its act/scene, a MIDI command can be sent using the pre-
programmed command & channel (as set on the console). The actual act/scene number is encoded into the
MIDI command data that is sent.

The required MIDI command data can be constructed by setting the midi command parameters as follows:

Note ON/OFF : These MIDI commands have two parameters, as follows:

1. NOTE, this parameter is equivalent to the required “ACT” number.

Each note has a numerical equivalent (see table below)

2. Velocity, this parameter is equivalent to the required “SCENE” number.

Example: To program a change to ACT 20, SCENE 44, - Set the note to G#-1,
set velocity to 44.

Song Pointer - The command is a numerical OCTAVE

value and is equivalent to the combined “ACT” &
“SCENE” number. -1 0 1 2 3 4 5 6 7 8 9
NOTE
Example: To programme a change to c 0 12 24 36 48 60 72 84 96 108 120
ACT 45, SCENE 02, - set the value to 4502 c# 1 13 25 37 49 61 73 85 97 109 121
d 2 14 26 38 50 62 74 86 98 110 122
MIDI Sysex Dumps: d# 3 15 27 39 51 63 75 87 99 111 123
e 4 16 28 40 52 64 76 88 00 112 124
f 5 17 29 41 53 65 77 89 01 113 125
f# 6 18 30 42 54 66 78 90 02 114 126
g 7 19 31 43 55 67 79 91 02 115 127
g# 8 20 32 44 56 68 80 92 03 116 -
a 9 21 33 45 57 69 81 93 04 117 -
a# 10 22 34 46 58 70 82 94 05 118 -
b 11 23 35 47 59 71 83 95 06 119 -

Operators Manual- Page 50

 Automation and Linking
MIDI Sysex Dumps:

To store the recall a memory between the console and a midi device (such as an Yamaha MDF3 midi Filer) or
the windows software available from Midas, select the SYSTEM menu, using the UP and DOWN keys select
DATA and press CONFIRM. Using the UP and DOWN keys select either SAVE or LOAD and press CONFIRM.
There are 2 communication options, either MIDI (through the midi port rear of the console or via RS232.
Select either MIDI or SERIAL using the UP and DOWN buttons and press CONFIRM. The screen will then
indicate the function being carried out and notify the user when finished.

Saving The Memory From The H4000 To A File

Connect the null modem cable.

Select the Show menu and click on 'Download From Console'. A window will open and set up the Comm
port. The message

Waiting for Show data will then be displayed.

Select the 'SYSTEM' menu on the H4000 and scroll to 'DATA'. Press 'CONFIRM', then scroll to 'SAVE' and
press 'CONFIRM'. Now scroll to 'RS-232' and press 'CONFIRM'. The show memory from the H3000 will then
be down loaded into the computer. When the data transfer is complete, the H4000 will ask you to confirm
the STORE OK, press 'CONFIRM'.

Select the Show menu in Hsutil and click on Save To File.

A prompt will appear asking for a show a name. Give the file type as *.shw.

Click on OK and the file will be saved.

Down Loading A Show Into The H4000

Connect the null modem cable.

Select Show menu and click on 'Load From File'. Using the browse function select the show you wish to
download into the console and click on OK. A window will open telling you the loading is complete, click on
OK.

Select the Show menu in Hsutil and click on Upload to console. A window will open asking you to hit upload
when console is ready.

Select the SYSTEM menu on the H4000, and scroll to 'DATA' then press 'CONFIRM'. Scroll to 'LOAD' and
press 'CONFIRM'. Now scroll to RS232 and press 'CONFIRM'.

Click on the 'Upload' button.

When the file is downloaded successfully, the H4000 will prompt you to press 'CONFIRM'. The show memory
from the computer will now be loaded into the H4000.

Linking Heritage Consoles together Via CAN:

A maximum of 6 consoles can be linked via the CAN bus connector located at the rear of the Heritage
consoles. Any mixture of any Heritage consoles may be linked H4000, H3000,H2000 or H1000. They are
linked using a cable the description of which is given on the next page. If you have more than 2 consoles in a
system the end consoles(either end of the cable) must have the RED termination button in the out position
(default), all other consoles must have this Red button pressed in.

When linked only one console can be the master at any one time, all other linked consoles are slaves. The
following functions are linked:

Master VCA Control

Master AutoMute Control
VCA Master Solo
Solo in Place Mode
Scene Storage and Recall (See attached Note 1)
Mode Switches
Automation Assignment Keys
Solo On
Solo Clear (See Note 2)

Operators Manual- Page 51

 Automation and Linking
Note 1

All scene memory information remains local to the console so when saving or loading memories to or from
the console by either computer file or midi sysex dump, each console must be done individually. When
setting up a multiple console system it is recommended that programming is done from the start with all
consoles linked. This is to avoid recalling a scene that does not exist on a slave console. If this is done you
will see a warning message on the Master indicating that the scene does not exist and prompting for
confirmation at which point the master will recall the required scene but the slave will remain on the last
existing scene recalled.

MIDI may only be stored locally on a console, if you wish to program midi outs on slave console you must
first make this the master or stand alone ( this will be described later) and then program your midi out
messages as normal.

Note 2

As the Solo add and Clear function of the Heritage 1000 are controlled differently to that of the 4000, 3000
and 2000. The solo CLR and ADD functions are not linked and must be triggered locally on any 1000 linked
into a system.

Switching a Console to Master or Slave:

Press the SYSTEM menu and using the UP and DOWN keys scroll to CONS then press CONFIRM.

Using the UP and DOWN keys select either Master or Slave then Press CONFIRM.

You will then be prompted to choose the ID number of the console using the UP and DOWN keys you have a
choice of ID 1 to 8. No two consoles in the same system may have the same ID.

Pressing CONFIRM will then synchronize the console with the system.

Note When a console is in slave mode CONS is the only item of the SYSTEM menu that can be accessed. If a
slave console is reconfigured to be a master it will automatically make the original master console a slave
when the CONFIRM button is pressed.

Operators Manual- Page 52

 CAN CABLE
Page 1of 1.
Cable Specification HS-CAN-8-01
H1000 / H2000 / H3000 / H4000 ACBLX-1606-1

Item Description Qty Manufacturers’ Reference KT Part No.

Connectors
1. 5 Pin XLR NC5MXB X-Series 2 Neutrik: NC5MXB CON31-5MXB
2. 5 Pin XLR NC5FXB X-Series 1 Neutrik: NC5FXB CON31-5FXB
Cable
3. Cardinal 48400 ‘Starquad’ 4 Core Cable 8m Farnell: 152-133

Connector Pins Signal Cable Core Cable Colour

Pin 1 NA No Connection NA
PIN2 CAN_L CABLE CORE 1 BLUE
PIN3 0V CAN CABLE CORE 3 GREEN
PIN4 CAN_H CABLE CORE 2 RED
Pin5 NA No Connection NA
CASE CHASSIS Braid Screen TIN
No Connection NA Cable Core 4 White

7.8m 0.2m

Operators Manual- Page 53

Male XLR Female XLR Male XLR
Issue Date Notes/ECN Drawn: Alison Ashmore Drawing Number
1 01-12-99 Released to Production Checked:
2 Approved: AS1606-1
3 From: N/A To: N/A
Can Bus

4 Connector (n/a ) Connector (n/a)

 We i g h t s a n d D i m e n s i o n s

Operators Manual- Page 54

 12.00°
566.05mm (22.28”)
363.00mm (14.29”)

189.00mm (7.44”)
1054.00mm (41.49”) Dimension B
Dimension A

Operators Manual- Page 55

48 channel frame
Dimension A=2268.00mm (89.290”) Dim B=2225.00mm (87.590”) Weight* 255kg (560.0lbs)

56 Channel Frame
Dimension A=2559.00mm (100.740”) Dim B=2516.00mm (99.050”) Weight* 293kg (645.7lbs)

64 Channel Frame
Dimension A=2780.00mm (109.449”) Dim B=2737.00mm (107.756”) Weight* 300kg (661.2lbs)

*out of flightcase
Weights and Dimensions
 RS-232 Stereo Aux
For Helix Auto-solo Outputs / inserts

Operators Manual- Page 56

Stereo Mono Modules Matrix Groups PSU Master Master outputs
Modules Section
inserts
Rear Panel Description
 Block Diagrams

Operators Manual- Page 58

 GAIN HI-PASS
FILTER
+25 +35
60 160
PHASE insert SIS
PHANTOM REVERSE pre eq
TRANSFORMER
48V BALANCING O 20 freq 400 PRE INS mute
+15 +60
OPTION gain INSERT POINT C LEFT BUS
+
MIC/LINE + VCA MONO BUS
INPUT SEND RETURN å
PAD _ RIGHT BUS
- - l pan r stereo lcr
ST MONO image

EQ
TEST
INPUT +18
(SERVICE +15
+12
USE ONLY) +9
+6
+3 PFL BUS
0
-3 LEFT SOLO BUS
-6
-9
-25
RIGHT SOLO BUS

FOUR BAND FULLY PARAMETRIC EQUALISER PUSH ON

0 0 0 0
width PRE
width width width 0
6 6 0.3 1 6 6 0.3 1 6 6 0.3 16 6 0.3 1

0.1 2 0.1 2 0.1 2 0.1 2

MIX BUS 1
+/- +/- +/- +/- +6
15 15 15 15 15 15 15 15 (ONLY 2 OF 24
bass lo-mid hi-mid treble PRE SHOWN FOR
METERS C 0
60 160 300 800 1k 3k 3k 8k CLARITY)
PRE
MIX BUS 2
bell l r
20 400 bell 100 freq 2k 400
freq freq8k 1k freq 20k

PUSH ON
NOISE å
REFERENCE

LOGIC 1
LOGIC 2
TRANSFORMER
BALANCING
OPTION

set set PRE +

0
1 set 5
1
DIRECT
set 1 VCA +6 -
2 1 VOLTAGE direct o/p
SET LEDS MAY
0 INTERNAL
2 2 å PRE/POST
FUNCTION IN
3 ANY ONE OF THREE 2 OPTIONS SIGNAL PATH KEY
WAYS AS SHOWN. 3 3 5 MUTE = ANALOGUE SIGNALS

Operators Manual- Page 59

4 FUNCTION IS 3 SAFE = D.C. SIGNALS
DEPENDANT ON safe safe
4 4
ASSIGN MASTER vca mute = AUTOMATION SIGNALS
5 4
SWITCHES.
5 5
6 5
6 6 solo
7 6
7 7 SOLO
7 CONTROL
8
8 8
9 8
9 9 HERITAGE 4000 INPUT MODULE
10 9
safe SCENE PREVIEW BLOCK DIAGRAM
automation 10 10
10 VCA FADER
MUTE GROUP POSITION
GROUP INDICATION

CAN BUS
H4000 INPUT FADER MODULE BLOCK DIAGRAM
 PRE
LINE MIX BUS 1
VCA
INPUT
MIX BUS 2
OPTIONAL
TRANSFORMER
BALANCING
PRE
MIX BUS 3

MIX BUS 4
VCA DAC

PRE
MIX BUS 5

MIX BUS 6

PRE
MIX BUS 7

MIX BUS 8

PRE
MIX BUS 9

MIX BUS 10

PRE
MIX BUS 11

MIX BUS 12

PRE
MIX BUS 13

MIX BUS 14

PRE
MIX BUS 15

MIX BUS 16

PRE
0
DIRECT
OUTPUT
+6
direct o/p
OPTIONAL
TRANSFORMER
BALANCING

SIGNAL PATH KEY

ANALOGUE SIGNALS

D.C. SIGNALS
HERITAGE 4000 AUXTENDER
INPUT MODULE BLOCK DIAGRAM

Operators Manual- Page 60

 MATRIX BUS
TO MATRIX (1 OF 8)
2- 8 MONO

0 0
HERITAGE 4000 GROUP MODULE l r MONO
+21+
BLOCK DIAGRAM +18+ MASTER
+10 +10 +15+ BUS MONO
+12+
+9+
MATRIX PRE +6+
SENDS PRE +3+
ST
fader
(1PAIR insert 0 MASTER
-3- c
OF8) -6- BUS LEFT
-9-
PRE -12-
PRE -15-
-18- l r
fader pan
insert -21-
METERS PRE -24- ST
-27-
TALK -30- c
SELECTED -33-
-36-
TALK ALL
direct input MASTER
0
PRE r BUS RIGHT
MUTE l pan
insert
LEFT + +10dB
DIRECT
_ +
+10 INS
level + VCA LEFT O/P
LEFT +
BUS INSERT POINT -
_
- MUTE
SOLO SAFE
SEND RETURN solo
NOISE TALK
BUS
INS
+
+
RIGHT +
BUS INSERT POINT _ VCA RIGHT O/P
direct input - solo
PRE -
0 MUTE SEND RETURN
RIGHT TALK MUTE
+ insert SAFE
DIRECT _ +10dB
+10 SOLO split
level

Operators Manual- Page 61

SOLO LOGIC
SOLO SOLO LEFT

SOLO RIGHT

PFL
PREVIEW
10
MUTE
AUTOMATION 5
9
VCA 9
vca 0
VCA 10
10 5
10
green = stereo aux BUS LOGIC
STEREO AUX
MONO AUX

red = mono aux

 insert
0 MUTE PRE

+10
INST
level

INSERT POINT
l r
SEND RETURN MUTE balance
output level

SOLO

SOLO LEFT
SOLO SOLO RIGHT
PFL
SOLO LOGIC

insert INST
0 MUTE PRE

INSERT POINT
+10 l r
level SEND RETURN MUTE balance
output level

TALK

Operators Manual- Page 62

TALK
SOLO

HERITAGE 4000 STEREO AUX

MODULE BLOCK DIAGRAM
 l r l r
+21+ +21+
HERITAGE 4000 MATRIX MODULE +18+
+15+
+18+
+15+
+12+ +12+
BLOCK DIAGRAM +9+
+6+
+9+
+6+
+3+ +3+
0 0
-3- -3-
-6- -6-
-9- -9-
-12- -12-
-15- -15-
-18- -18-
-21- -21-
METERS PRE -24- -24-
-27- -27-
TALK -30- -30-
SELECTED -33- -33-
-36- -36-
TALK ALL

+
MATRIX 1
INJECT
_ +
INST
+ VCA MATRIX 1
MATRIX1 + OUTPUT
BUS INSERT POINT -
_
- MUTE
SAFE
MATRIX SEND RETURN solo
TALK
REFERENCE
BUS
INST
+
+
MATRIX 2 +
INSERT POINT MATRIX 2
BUS _ VCA
OUTPUT
- solo -
SEND RETURN
+
MATRIX 2 TALK MUTE
SAFE
INJECT _
SOLO split

PREVIEW
SOLO LEFT
MUTE
AUTOMATION SOLO RIGHT

10 PFL

5
0 SOLO LOGIC

MASTERS VCA VCA VCA FROM MASTERS 5 SOLO

10 split

+
MATRIX 5
INJECT
_ +
INST MATRIX 5
+ VCA
MATRIX 5 + OUTPUT
BUS INSERT POINT -
_
- MUTE
SAFE
MATRIX SEND RETURN
REFERENCE TALK solo
BUS
INST
+
+
MATRIX 6 +
INSERT POINT solo MATRIX 6
BUS _ VCA
OUTPUT
-
-
SEND RETURN
+
MATRIX 6 TALK MUTE
SAFE
INJECT _

10
5
0

VCA VCA FROM MASTERS 5

10

Operators Manual- Page 63

 l m-c r
0 MATRIX SEND
+21+ +21+ left
+18+ +18+ (1 OF 8) MATRIX BUS
+15+ +15+ sum
TO MATRIX (1 OF 8)
+12+ +12+ right
+9+ +9+ 2- 8 oo +10
+6+ +6+ mono
+3+ +3+
HERITAGE 4000 MASTER MODULE 0 0
-3- -3-
BLOCK DIAGRAM -6- -6-
-9- -9-
-12- -12-
-15- -15-
-18- -18- PRE insert PRE fader
MASTERS
-21- -21-
-24- -24-
SUM RIGHT’
-27- -27- MASTERS
-30- -30-
-33- -33- SUM LEFT
-36- -36-
MASTERS
METERS PRE 0 SUM MONO
TALK
TALK MONO
SELECTED
VCA O/P
TALK ALL INST MUTE +10
+ mono (centre) +
MASTER
MONO + + VCA O/P MONO
_ INSERT POINT
INJECT _ -
-
MONO SEND RETURN SAFE
ST to mono
BUS
VCA link to
mono
direct input -3dB
0
PRE
MUTE
insert
LEFT + +10dB
_ MUTE
DIRECT +
+10 INST MASTER
level + VCA
LEFT + O/P LEFT
BUS INSERT POINT 10 10 -
_
-
SOLO SAFE
SEND RETURN 5 5
NOISE TALK MASTER
BUS 0 0 VCA O/P
INST
l r 5 5
MUTE

Operators Manual- Page 64

balance +
10 10 +
RIGHT +
INSERT POINT MASTER
BUS _ VCA
- O/P RIGHT
direct input PRE -
0 MUTE SEND RETURN
RIGHT insert TALK
+ +10dB SAFE
DIRECT _
+10
s p
level o
l l AUTOMATION
o a SIP O/P
SOLO i c
n e
SOLO LOGIC

SOLO LEFT
SOLO RIGHT
PFL
PREVIEW

MUTE
AUTOMATION
 TALK input
0
TALK A/B
+ SPEAKERS
EXTERNAL _
MONO masters +10 SOLO to mono (HALF NORMALISED) C/O
level + MUTE
+ + MONO O/P
MONO INSERT POINT VCA
SUM _ LEFT ‘A'
0
-
-
COMMS SEND RETURN
MONO O/P
LEVEL REVERSE
PHASE MONO L TO BOTH A/B LEFT 'B'
+10
level SPEAKERS
O MONO L
SOLO pre fade (HALF NORMALISED) C/O
(pfl) SOLO SOLO to stereo
BUS LEFT + MUTE
+ + SOLO O/P
- INSERT POINT VCA LEFT ‘A'
SOLO _
+ -
INJECT LEFT _ -
SEND RETURN
SOLO O/P
SOLO LEFT 'B'
BUS RIGHT (HALF NORMALISED)
+ MUTE
+ +
SOLO O/P
INSERT POINT VCA
+ _ RIGHT ‘A'
SOLO _ -
INJECT RIGHT -
-3dB SEND RETURN
PAD ON R 10 10 SOLO O/P
PFL BUS RIGHT 'B'
-20dB L/R REVERSE R TO BOTH 5 5
MONITOR
0 +10
FADER 0 0
PFL INJECT
+ MUTE
_ 5 5 HEADPHONES
10 10 +10 phones +10

MONO

+
-3dB SOLO BUS
0 O/P LEFT
TALK -
ST +21+
+18+ MIC SOLO TO
+15+ +10
+12+ MASTERS
MASTER +9+
level LEFT
BUS LEFT +6+ 0
talk talk talk +
+3+ mic SOLO BUS
MASTER 0 1kHz internal external
-3- O/P RIGHT
BUS RIGHT -6- -
+10
-9- signal SOLO TO
-12-
level
EXT -15- PINK generator MASTERS

Operators Manual- Page 65

-18- OSCILLATOR RIGHT
-21- 0
EXTERNAL -24- +
INPUT -27-
generator generator PFL BUS
LEFT -30-
-33- PINK NOISE +10 internal external O/P
-36- level -
EXTERNAL
INPUT
RIGHT +
TALK
EXTERNAL
- O/P

TALK

TALK ALL
TALK
meter SELECTED
PRE change
HERITAGE 4000 MONITOR MODULE +V over
BLOCK DIAGRAM GLOBAL
METERING
SOLO add mode
PRE
SOLO
LOGIC SOLO CLEAR

solo clear
 Crib Sheet

Operators Manual- Page 66

 p g p g p g p g p g p g p g p g
a a a a a a a a a a a a a a a a
n n n n n n n n
c i c i c i c i c i c i c i c i
0 n 0 n 0 n 0 n 0 n 0 n 0 n 0 n
1 1 1 1 1 1 1 1

PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r

c c c c c c c c
0 0 0 0 0 0 0 0
2 2 2 2 2 2 2 2

PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r

c c c c c c c c
0 0 0 0 0 0 0 0
3 3 3 3 3 3 3 3

PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r

c c c c c c c c
0 0 0 0 0 0 0 0
4 4 4 4 4 4 4 4

PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r

0 0 0 0 0 0 0 0
5 5 5 5 5 5 5 5

PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r

c c c c c c c c
0 0 0 0 0 0 0 0
6 6 6 6 6 6 6 6

PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r

c c c c c c c c
0 0 0 0 0 0 0 0
7 7 7 7 7 7 7 7

PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r

c c c c c c c c
0 0 0 0 0 0 0 0
8 8 8 8 8 8 8 8

PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r PRE l r

Crib sheet
MIDAS H4002 MIDAS H4002 MIDAS H4002 MIDAS H4002 MIDAS H4002 MIDAS H4002 MIDAS H4002 MIDAS H4002
Mono input plus pod
48V +25 +35 48V +25 +35 48V +25 +35 48V +25 +35 48V +25 +35 48V +25 +35 48V +25 +35 48V +25 +35 Inputs
to
PAD PAD PAD PAD PAD PAD PAD PAD

+15 +60 +15 +60 +15 +60 +15 +60 +15 +60 +15 +60 +15 +60 +15 +60
O gain O gain O gain O gain O gain O gain O gain O gain
0 0 0 0 0 0 0 0

PRE PRE PRE PRE PRE PRE PRE PRE

+10 +10 +10 +10 +10 +10 +10 +10
direct o/p direct o/p direct o/p direct o/p direct o/p direct o/p direct o/p direct o/p

Notes:
5k 5k 5k 5k 5k 5k 5k 5k

0 0 0 0 0 0 0 0

1k 20k 1k 20k 1k 20k 1k 20k 1k 20k 1k 20k 1k 20k 1k 20k

freq freq freq freq freq freq freq freq

15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15
bell treble bell treble bell treble bell treble bell treble bell treble bell treble bell treble
2k 2k 2k 2k 2k 2k 2k 2k
+/- Q +/- Q +/- Q +/- Q +/- Q +/- Q +/- Q +/- Q
0 0 0 0 0 0 0 0

400 8k 400 8k 400 8k 400 8k 400 8k 400 8k 400 8k 400 8k

freq freq freq freq freq freq freq freq

INS 15 15 INS 15 15 INS 15 15 INS 15 15 INS 15 15 INS 15 15 INS 15 15 INS 15 15

hi-mid hi-mid hi-mid hi-mid hi-mid hi-mid hi-mid hi-mid
PRE PRE PRE PRE PRE PRE PRE PRE
0 0 0 0 0 0 0 0
EQ EQ EQ EQ EQ EQ EQ EQ

500 500 500 500 500 500 500 500

15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15
lo-mid lo-mid lo-mid lo-mid lo-mid lo-mid lo-mid lo-mid
100 2k +/- Q 100 2k +/- Q 100 2k +/- Q 100 2k +/- Q 100 2k +/- Q 100 2k +/- Q 100 2k +/- Q 100 2k +/- Q
freq freq freq freq freq freq freq freq
bell 0 bell 0 bell 0 bell 0 bell 0 bell 0 bell 0 bell 0

100 100 100 100 100 100 100 100

15 15 15 15 15 15 15 15 15 15 15 15 15 15 15 15
bass bass bass bass bass bass bass bass
20 freq400 20 freq400 20 freq400 20 freq400 20 freq400 20 freq400 20 freq400 20 freq400
60 160 60 160 60 160 60 160 60 160 60 160 60 160 60 160

20 freq 400 20 freq 400 20 freq 400 20 freq 400 20 freq 400 20 freq 400 20 freq 400 20 freq 400
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
1 1 1 1 1 1 1 1
PRE 2 PRE PRE 2 PRE PRE 2 PRE PRE 2 PRE PRE 2 PRE PRE 2 PRE PRE 2 PRE PRE 2 PRE
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
3 3 3 3 3 3 3 3
PRE 4 PRE PRE 4 PRE PRE 4 PRE PRE 4 PRE PRE 4 PRE PRE 4 PRE PRE 4 PRE PRE 4 PRE
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
5 5 5 5 5 5 5 5
PRE 6 PRE PRE 6 PRE PRE 6 PRE PRE 6 PRE PRE 6 PRE PRE 6 PRE PRE 6 PRE PRE 6 PRE
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
7 7 7 7 7 7 7 7
PRE 8 PRE PRE 8 PRE PRE 8 PRE PRE 8 PRE PRE 8 PRE PRE 8 PRE PRE 8 PRE PRE 8 PRE
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
9 9 9 9 9 9 9 9
PRE 10 PRE PRE 10 PRE PRE 10 PRE PRE 10 PRE PRE 10 PRE PRE 10 PRE PRE 10 PRE PRE 10 PRE
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
11 11 11 11 11 11 11 11
PRE 12 PRE PRE 12 PRE PRE 12 PRE PRE 12 PRE PRE 12 PRE PRE 12 PRE PRE 12 PRE PRE 12 PRE
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
13 13 13 13 13 13 13 13
PRE 14 PRE PRE 14 PRE PRE 14 PRE PRE 14 PRE PRE 14 PRE PRE 14 PRE PRE 14 PRE PRE 14 PRE
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
15 15 15 15 15 15 15 15
PRE 16 PRE PRE 16 PRE PRE 16 PRE PRE 16 PRE PRE 16 PRE PRE 16 PRE PRE 16 PRE PRE 16 PRE
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
17 17 17 17 17 17 17 17
PRE 18 PRE PRE 18 PRE PRE 18 PRE PRE 18 PRE PRE 18 PRE PRE 18 PRE PRE 18 PRE PRE 18 PRE
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
19 19 19 19 19 19 19 19
PRE 20 PRE PRE 20 PRE PRE 20 PRE PRE 20 PRE PRE 20 PRE PRE 20 PRE PRE 20 PRE PRE 20 PRE
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
21 21 21 21 21 21 21 21
PRE 22 PRE PRE 22 PRE PRE 22 PRE PRE 22 PRE PRE 22 PRE PRE 22 PRE PRE 22 PRE PRE 22 PRE
C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0 C 0 0

l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6 l r +6
23 23 23 23 23 23 23 23
PRE 24 PRE PRE 24 PRE PRE 24 PRE PRE 24 PRE PRE 24 PRE PRE 24 PRE PRE 24 PRE PRE 24 PRE
C C C C C C C C

ST ST ST ST ST ST ST ST
l pan r l pan r l pan r l pan r l pan r l pan r l pan r l pan r
SIS MONO SIS MONO SIS MONO SIS MONO SIS MONO SIS MONO SIS MONO SIS MONO

+18 +18 +18 +18 +18 +18 +18 +18

+15 +15 +15 +15 +15 +15 +15 +15
+12 +12 +12 +12 +12 +12 +12 +12
+9 +9 +9 +9 +9 +9 +9 +9
stereo lcr +6 stereo lcr +6 stereo lcr +6 stereo lcr +6 stereo lcr +6 stereo lcr +6 stereo lcr +6 stereo lcr +6
image +3 image +3 image +3 image +3 image +3 image +3 image +3 image +3
0 0 0 0 0 0 0 0
-3 -3 -3 -3 -3 -3 -3 -3
-6 -6 -6 -6 -6 -6 -6 -6
-9 -9 -9 -9 -9 -9 -9 -9
-25 -25 -25 -25 -25 -25 -25 -25
mute mute mute mute mute mute mute mute

MIDAS HS0001 MIDAS HS0001 MIDAS HS0001 MIDAS HS0001 MIDAS HS0001 MIDAS HS0001 MIDAS HS0001 MIDAS HS0001

channel channel channel channel channel channel channel channel

Operators Manual- Page 67

 Features and Specifications

Operators Manual- Page 68

 Overview

Based on a 48 channel Frame (44 Mono + 4 Stereo channels)

Output 'Assignable buss' outputs 24

'Stereo aux' outputs 16
Total 40 aux outputs

Stereo master 2 (L/R)

Mono master 1 (M)
Matrix 8
Channel Direct Outputs 44
Local Outputs 3 (Output 'a' LCR)
3 (Ouput 'b' LCR)
SOLO Outputs 4 (LR AFL)
2 (Mono PFL)
Talk EXT 2

Input Mono Microphone 52

1 (Talk Mic)
Direct Input 16 ('Stereo Aux')
24 ('Assignable Buss')
8 (Matrix)
Additional 2 (2 Track Return)

Inserts Input Channels 52

'Assignable buss' 24
'Stereo aux' 16
Matrx 8
Monitor 3 (LCR)
Master 3 (LCR)

XLR Count Input 103

Output 109

Quarter Inch Jack Count Total 212

The 4000 has 58 long throw faders for mix control with fader position recall and virtual fader
functions.

The 4000 has a total of 89 peak program meters with 20 LED segments on all outputs and 11
LED segments on input channels.

Automation Features:

10 automute sub groups

10 VCA sub groups (which include VCA sub group muting)

Dual Redundant microcard automation control

Store up to 464 Scenes in 100 Acts*

The 4000 has a total of 1055 automated switch functions as follows:-

480 output channel VCA sub group virtual assign switches

8 'Stereo Aux' VCA sub group virtual assign switches
480 input channel mute sub group virtual assign switches
48 input channel mute switches
24 audio sub group mute switches
4 'Stereo Aux' mute switches
8 matrix mute switches
3 master mute switches
*Scenes may be numbered in the range 00.01 to 99.99. Memory 00.00 is reserved (thus 463 user storable scenes are
available).

Operators Manual- Page 69

 Technical Specification

Input impedance
Mic 2k ohms Balanced
Line 20k ohms Balanced

Input Gain
Mic Continuously variable+15 to +60 dB
Mic + Pad Continuously variable-10 to +35 dB
Line Level Inputs 0dB

Maximum Input Level

Mic +6dBu
Mic + Pad +31dBu
Line Level Inputs +21dBu

CMR @ 100Hz
Mic (gain +40dB) Typ. 115dB
Mic + Pad (gain 0dB) Typ. 80dB

CMR @ 1kHz
Mic (gain +40dB) > 100dB
Mic + Pad (gain 0dB) > 60dB
Line > 50dB

Frequency Response
(20Hz - 20kHz) Mic to Mix (gain +60dB) +0dB to -1dB

Noise
(20Hz - 20kHz) Mic EIN ref. 150 ohm (gain +60dB) -128dBu

System Noise
(20Hz - 20kHz) Summing Noise
(48 Channels routed with faders down) -80dB

Line to Mix Noise

(48 channels routed at 0dB, pan centre) -75dB

Distortion @ 1kHz
Mic to Mix (gain +60dB, 0dBu ouput) < 0.03%

Crosstalk @ 1kHz
Channel to Channel < -90dB
Mix to Mix < -90dB
Channel to Mix < -90dB
Maximum Fader Attenuation > 80dB

Output Impedance
All Line Outputs 50 ohms Balanced source to
drive > 600 ohms
Headphones To Drive > 8 ohm load

Maximum Output Level

All Line Outputs +21dBu
Headphones +21dBu

Nominal Signal Level

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

Operators Manual- Page 70

 Technical Specification

Equaliser
Hi-Pass Slope 12dB / Oct.
High Pass Frequency Continuously variable
-3dB Point from 20Hz to 400Hz

Treble Gain Continuously variable-15 to +15dB

Centre detent @ 0dB

Treble Shelving Freq. Continuously variable

-3dB point from 1kHz to 20kHz

Treble Bell Freq. Continuously variable

Centre from 1kHz to 20kHz

Treble Bell Bandwidth Continuously variable from 0.1 - 2.0 Octaves

Centre Detent @ 0.5 oct

Hi-Mid Gain Continuously variable-15 to +15dB

Centre detent @ 0dB

Hi-Mid Freq. Continuously variable

Centre from 400Hz to 8kHz

Hi-Mid Bandwidth Continuously variable from0.2 - 2.0 Octaves

Centre Detent @ 0.5 oct.

Lo-Mid Gain Continuously variable-15 to +15dB

Centre detent @ 0dB

Lo-Mid Freq. Continuously variable

Centre from 100Hz to 2kHz

Lo-Mid Bandwidth Continuously variable from 0.3 - 2.0 Octaves

Centre Detent @ 0.5 oct.

Bass Gain Continuously variable-15 to +15dB

Centre detent @ 0dB

Bass Shelving Freq. Continuously variable

-3dB point from 20Hz to 400Hz

Bass Bell Freq. Continuously variable

Centre from 20Hz to 400Hz

Bass Bell Bandwidth Continuously variable from 0.4 - 2.0 Octaves

Centre Detent @ 0.5 oct.

Operators Manual- Page 71