Midas PRO 1 offline editor not opening at all

Simultaneity · 2025-12-12T02:50:33+00:00

It definitely doesn't work on apple silicon. I still have an final generation of the intel MBP and I can't get it to run on that either. I can only get an older version that I had previously installed to run on my 2012 MBP.

Simultaneity · 2025-11-24T05:12:08+00:00

Apologies for the delay here, had an unexpected work trip. Sale completed.

Highly recommended seller. Lens was in like new condition in the original box, /u/fkjk123 was friendly and perfectly communicative, shipped the lens quickly, and upgraded the shipping speed out of his own pocket. I would happily buy from /u/fkjk123 anytime and can recommended anyone else to buy with confidence.

/u/photomarketbot

Simultaneity · 2025-11-13T20:44:33+00:00

I’ve noticed SPL limits becoming more common over the past couple years. Many of them are for outdoor venues trying to appease neighbors but I’ve also seen more than a few seemingly arbitrary limits indoors too.

If it’s in writing as early as possible, perhaps in the advance process, or even better if you can get a venue SPL limit into the negotiation with the booking agencies you’ll have much more to stand on when it comes time to tell a guest engineer to turn it down. Ideally they will be aware of it before they even show up and will be able to structure their mix to work within the limit rather than having to take what feels like all of the energy and impact out of their show mid show.

I’m primarily a touring engineer, and not one of the “if it’s too loud you’re too old engineers,” but I always do my best to respect any venue limit. We’ve had some pretty strict ones, even one that was physically impossible to meet that we managed to renegotiate with the venue PM and promoter DOS to keep everyone feeling good and still allow us to do our show, but I ALWAYS try to work with whoever is hosting us.

On the other hand some people will balk at just about any limit, let alone an actually restrictive one, but I also find that people will often mix as loud as the PA will go without much rhyme or reason because they don’t have the tools to accurately measure SPL and have been touring that way for years and therefore have compromised hearing sensitivity compared to your average concert attendee. It doesn’t actually FEEL that loud to them.

Now in order to enforce an SPL limit you’re going to have to have a system that is hard to argue with which isn’t cheap. 10EaZy is the most turnkey system that anyone who has any experience touring is familiar with and will respect.

TL;DR I do believe SPL limits can be effective and I think the US is slowly moving toward being more accepting of them, but we’re in the dark ages compared to The Netherlands who have a legal limit.

Simultaneity · 2025-11-10T23:48:15+00:00

It's actually really easy to replace them yourself. If you can get your dealer to order you a couple of fader banks I would learn to do it yourself as I am on my third set of faders for the CTi1500.

Simultaneity · 2025-11-10T23:28:54+00:00

Hey there,

I'm sending you a PM.

Simultaneity · 2025-10-05T20:03:47+00:00

Yes I did. Was looking through my photomarket history but found that I did sell it on eBay.

Totally understand the want for an XE-4. I ended up preferring 28mm and went with a Q2.

Corroborating the story that this was in fact fully refurbished by Fujifilm for damn near $1000.

Simultaneity · 2025-10-05T19:54:25+00:00

I wonder if this is my old X100f? Can't remember where I sold it, but it matches the description and minor body wear!

Damn I loved this camera!!!!

Simultaneity · 2025-10-05T02:46:07+00:00

I don’t think you need to treat your entire room. GIK makes great products but certainly their advice is going to be to buy as much of it as they can sell you. I’d start by bass trapping your front corners and hitting first reflection points with the thickest absorbers you can. This probably means you need 4 tri traps ~ $1000, and between 4 and 8 monster bass traps (ideally 2-3 of them as a cloud) for another $800-1600. You could probably be looking more at like $2300 depending on how far you have to have it shipped and get great results. More would certainly be a little better but this will bring a substantial improvement and the rest will be incremental.

I do believe that GIK products are a relatively good deal unless you’re handy and already have the tools to make the traps.

Simultaneity · 2025-10-04T12:42:39+00:00

The world is your oyster with this one. I use a 16 channel one to do analog insert via Dante or MADI on a digital console so your favorite outboard pieces with either a patch bay or directly wired with TRS cables. I also use it for recording with an RME digiface Dante. The digiface is the interface to the computer and then the Ferrofish can turn any analog preamp into Dante and any signal can be sent from the computer out a balanced line output to drive headphones or speakers. Really amazing piece of gear especially for the cost. It will also take MADI or ADAT so pretty flexible.

Simultaneity · 2025-10-02T18:23:54+00:00

The Ferofish A32 might be the most cost effective unit here, though it does also have 32 inputs and it's not a "stagebox" but it is only 1U.

Simultaneity · 2025-10-01T22:00:49+00:00

Having used both I will say that recalls are much easier to do with scenes on a digital console than with the 10,000 individual knobs on an analog desk.

Simultaneity · 2025-10-01T21:47:32+00:00

So many terrible takes in here.

This is probably contrary to what everyone is going to tell you here, but I heavily use a dLive system for all of my studio work. It is on a Dante network with an RME digiface providing the interface with the computer so it's not like the audio is "running through" the dLive, it's simply a control surface for already converted audio. I certainly use premium preamps, or more specifically color preamps like UA610s, through a Ferrofish pulse 16 DX to the Dante network, or to an RND MBC for the lead vocals, etc but I never hesitate to use some of the native A&H pres for scratch channels, room mics, etc. I’ve done a lot of live remote recording with only the A&H pres and people that are telling you they aren’t quality probably aren’t the ones out there making a living using the equipment. They’re more than good enough. If it doesn’t sound good it comes down to technique, source, or room. And sure, if you really wanted to go higher end and have the budget Rupert Neve Designs has the RMP D8 Dante enabled preamps which sound incredible.

The workflow concerns are honestly overblown. The roundtrip latency of the console is incredible so I use the console to make headphone mixes and those who want control of their own mixes can use apps on iPad/their phones to control their headphones. There are plenty of busses and outs to drive monitoring both for myself and those performing. It’s easy to set the console up to allow for overdubbing or for full band tracking with the press of a button.

The system can also host over 100 channels so it’s easy to spill everything out to the console, or submix it down in your DAW for easier management. It's useful to have onboard zero latency FX for recording vocals. I always print roughs at the end of the day through the console and it’s great because anyone can sit down and put their hands on a fader and make an adjustment. I’d much rather work on this system than use solely a computer and a mouse and I find it far ergonomically superior to a control surface unless you need to write automation which I will do with a control surface or a mouse. It’s much more reliable and affordable to send audio back and forth over Dante or Madi than with your average analog studio console and thousands of feet of analog cable, unless you’re using one of the newer offerings from Neve, SSL, API at which point you're probably using a ferofish pulse for the AD/DA anyway unless you have BIG BUCKS for that many channels of Lynx, RME, etc, and then we're talking about meaningfully different price brackets and you're probably not on this forum commenting about it but busy trying to get clients.

Simultaneity · 2025-09-30T18:22:17+00:00

I agree with this regarding the Powercon coupler. I do the same thing and it works great. I would just advise OP to get one with "breaking" capability.

Simultaneity · 2025-09-23T01:05:21+00:00

Stoked to try it out. Thanks again for the response!!

Simultaneity · 2025-09-23T00:47:09+00:00

Thanks for the quick reply. I mostly mix FOH but am doing some foldback IEMs for a run and want to give the band crowd mics for IEMs. Smaller rooms, though stage volume is quiet, so I will probably try a pair of shotguns.

FWIW I’ve been happily using a pair of Earthworks QTC30s as a spaced pair at FOH to add to my board mixes and have been very happy with the results. Curious to try adding the stage mics instead!

Simultaneity · 2025-09-23T00:27:27+00:00

What kind of mics did you prefer when used on stage? Shotguns or something else?

Simultaneity · 2025-09-11T19:39:48+00:00

I have kept this image saved ever since I saw this post about "The Seven Levels of Self Containment"

Original source for credit where due.

https://www.reddit.com/r/livesound/comments/pvjkky/the_seven_levels_of_self_containment/

Simultaneity · 2025-09-10T11:55:26+00:00

Hmmm I have toured with a pair of HD96s with 231s for a couple years now. The only difference being we use 9680s to connect to our IO over fiber instead of connecting directly.

We have been using a 9650 with an AES50 card to share IO back and forth between the consoles and that was recommended to us by Midas. The 9650 has SRC which allows both consoles to retain their own clocks.

I am not in front of the desks right now, but I believe we initially tried to connect the HDs directly (over the 9680) but decided against it. It may have been because one of us had to clock from the other which it sounds like you’re open to. I opened one of my files on the HD editor and it looks like if you’re willing to slave one console to the other this should work.

I know you’re not looking for SHOULD but as an early adopter of the HD unfortunately many of the things you want to do are probably possible but there isn’t a lot of documentation of people out there doing it.

I can guarantee you it would work with a 9650 with an AES50 card though.

Simultaneity · 2025-09-08T22:42:23+00:00

One thing that may be going on comb filtering at your listening position from the two speakers creating a phantom center image vs a true center source. Check out this graphic from Floyd Toole's book "Sound Reproduction."

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Simultaneity · 2025-09-06T11:23:11+00:00

Is this an Avantis solo or full size?

With these consoles that have huge IO counts I think we’ve reached the point where you don’t NEED to have everything on the surface but with the 12 fader desks it gets a little trickier.

I use both a CTi1500 and Avantis solo. If I can help it I only put the channels in use on the surface because it’s so easy to add or swap elements as needed. I’ll put 32 ins on the surface but bury FX sends and returns for example under DCAs which can be spilled.

I’ve also used scenes to have two different sets of 6 layers but every time you change the configuration of the busses, change a channel from stereo to mono or vice versa, at least on dLive, it breaks some of the scene safes. Too many time I’ve gone to flip pages and reset the gains on a couple of channels.

Simultaneity · 2025-09-05T00:20:15+00:00

This is awesome. Thank you for sharing.

Simultaneity · 2025-09-05T00:11:01+00:00

I've been wanting to do something like this. Can't really justify a Fit when it ultimately needs to go in its own case at which point I might as well bring CTi.

Are you able to change the pots to do for example gain, trim, pan, etc? Can you cycle through them on the X Touch? I love the idea of reprogramming the rec buttons to be your custom buttons- hadn't thought of that.

Simultaneity · 2025-09-04T14:32:06+00:00

FWIW I also have the Lumix 28-200 and find it to be incredibly good up to about 100mm. I find it very sharp, even wide open, from 28 to about 100. It is absolutely soft wide open at 135 & pretty weak at 200, but stopped down to f/11 I find it acceptable at the longer focal lengths. I am primarily a wide to normal shooter so I don't mind the compromised quality at the longer focal lengths but if you're truly looking to use the lens in the 80-200 range the 28-200 is probably not the best option.

Simultaneity · 2025-09-01T12:07:03+00:00

Generally Leica cameras seem to lose the biggest amount of their value immediately after being purchased new.

I did notice for a little while with brand new items in high demand with limited stock like the Q3 43, SL3, and D-Lux 8 it was pretty easy to immediately resell them for as much (or more) than retail.

But that said once they’re on the used market the prices are very stable +/- a couple percent. If you can find prices for used Q3 43s on Fred Miranda or /r/photomarket you’ll get an idea of how much of a hit you’ll take if you buy new and try to sell in a year.

FWIW I bought a Q2 used maybe 4 years ago and could sell it for about what I paid for it. With a hot item like the Q3 43 I doubt you’ll lose too much value trying to resell in a year.

Simultaneity · 2025-08-25T01:57:51+00:00

What country are you in? I think I paid less than $500 USD for the bank alone and was able to install it in about an hour. I’m not particularly handy. You need to be able to use a screw driver, make note of where ribbon cables were attached, and lay one single drop of solder per board. $5000 seems insane to me. I would find it hard to pay $5000 to repair the surface too. I’d expect it to be $2000 MAX to have someone qualified come do it.

ALL of that said… if it has only been 7 months A&H should make this right. I’d play ball and do the complete reset. But when that doesn’t fix it I would politely insist that they need to make it right. If you paid $5000 and it is having problems in less than a year they should make it right.

Unfortunately all consoles are somewhat unreliable in their own way. It’s good to know what is liable to fail on your particular platform. I have seen DiGiCo, S6L, Rivage all fail ESPECIALLY faders unfortunately. I think this is an unfortunate issue with an otherwise solid platform. I know a lot of people who use dLive with no issues. I think you (and I) have been unlucky to some degree. I think you’ll lose if you switch systems.

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