Multi Functional Application. 
The XL250 is an extremely flexible and truly “multi-functional” console. It can be re-configured in seconds for applications such as in ear monitoring, wedge monitoring, combinations of both, front of house use and many more. All this is achieved with no compromise to the control functions or layout through use of configurable busses and the controls that feed them. If you need a stereo buss, switch the stereo button between two groups and they are now working in stereo with all inputs routed via level and pan controls. If you want mono busses switch the stereo button off and the two groups are independent and fed from separate level controls on the input channels. 

Compact and Ergonomic. 
Great care has been taken to get the “feel” of the console correct. The result is a simple, fast and responsive control surface which is compact and yet gives effortless control over the 48 inputs and 20 outputs. 

The Sound. 
The XL250 has the “Midas Sound”. Transparent, open and dynamic. Switch changes are silent, the noise floor is way down and the headroom is high due to the consistent internal gain structure. 

The Inputs. 
The XL250 features a new mic amplifier which improves on the XL3 design giving better CMR, noise and distortion performance whilst retaining the XL3's constant HF bandwidth topology which assures excellent amplifier stability and RF rejection at all gains. All inputs, mic, line, insert etc. are fully balanced and are both differential and common mode impedance matched. 

The Equaliser. 
The responsive control, character and sonic performance of the legendary XL3 equaliser are maintained in full including parametric mid's and traditional Midas swept shelving treble and bass. 

The Inserts. 
Each channel has a half normalised fully balanced insert send and return point which can be switched in or out and set as either pre or post equaliser from the front panel. 

Input Metering. 
The peak reading input meters monitor pre fader signals and cover a 40dB range from +15dBu downwards in ten 3dB steps with a signal present indicator at -25dBu. 

Direct Outputs. 
Every input module is fitted with a direct output as standard with its own level control and front panel switch which selects the source from pre fader or pre insert and equaliser. This provides a valuable output feed to effects, broadcast or recording. 

Audio Busses. 
The XL250 has 4 fixed busses, 2 aux busses for effects sends and a stereo master bus. The aux busses have independent on/off switching and pre/post fader switching. The remaining 16 busses are configured on a bus by bus basis as mono or stereo. The channel mix controls that feed these busses automatically change from level and level to level and pan with the push of a switch on the group modules. As an extreme this gives 18 independent mono busses with a stereo master bus or 2 mono aux busses with 9 independent stereo busses. Dual concentric type  controls have not been used on any of the bus sends. This simplifies adjustment and viewing of relative levels within the mix. All the configurable mix sends feature independent on/off switching and pre/post fader switching. 

Mix Groups with Direct Inputs. 
The 20 mix groups feature 100mm faders and can be used directly for speaker outputs or as audio sub groups with groups 1 to 18 feeding the stereo master (groups 19 and 20) via individual pan controls and on/off switches. Each mix group also has a direct input with level control which can be routed into the mix group either pre or post insert point. This can be used to link consoles, return effects, bring in sub mixes or taped material etc. 

Outputs and Meters. 
All outputs including insert sends can drive large capacitive loads and feature semi-floating fully balanced circuits which are both differential and common mode impedance matched. All the mix group outputs are monitored post fader by 20 led peak reading meters which cover a 60dB range in 3dB steps. 

Automutes. 
The XL250 has 8 automute masters which can be assigned to any input or group and act on pre fader and post fader signals. These are overlapping and allow easy muting of unwanted instruments during a performance. Each module has a safe switch which can be used to over ride the automute system. 

The Solo System. 
The XL250 has an advanced solo system which operates in two main modes; auto cancel and input priority add mode. The auto cancel mode allows fast access channels and groups by removing the need to cancel previous solos. The add mode allows the building of solo scenes when many solos can be placed on to the solo buses at the same time; inputs are given priority over groups, i.e. any active input channel solo will temporarily override an active group solo. In auto cancel mode, stereo and other multiple channels or groups can be soloed together providing they are switched on at the same time. This saves switching back and forth between the two modes. In either mode the solo switches are only latching in operation if they are pressed for under a second, if they are held for longer than this they unlatch and the solo will cancel when the switch is finally released. The solo system can operate as PFL mono, AFL stereo or solo in place which operates on the stereo master output. 

The Communications Module. 
The talk system is very simple, fast and flexible; one button press selects the source from a choice of talk mic, pink noise generator, swept oscillator or external input; a second button press routes the signals to any of the mix outputs. An external output is also provided to connect to other systems. Internal console signals can be monitored via a powerful 8 watt headphone amplifier or via speakers under control from the 100mm local output fader.